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"title": "What Happens When All the Curators Are Gone?",
"headTitle": "What Happens When All the Curators Are Gone? | KQED",
"content": "\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>[contextly_sidebar id=”1VqRTdOK9TxLY8gluVQGiZVaOgTScoiQ”]\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Why Are You Hearing Foghorns on a Sunny Day? | KQED",
"content": "\u003cp>It’s not every day you get to travel through time — but a carefully arranged group of audio speakers along the San Francisco waterfront allows visitors to do just that.\u003c/p>\n\u003cp>The centerpiece of \u003ca href=\"http://resoundings.org/\" rel=\"noopener\" target=\"_blank\">Bill Fontana\u003c/a>’s three-month-long installation at SFAI’s Fort Mason Campus, \u003ci>Landscape Sculpture with Foghorns\u003c/i>, transports its audiences through time — but not space — to 1981. It was then that Fontana participated in the \u003ca href=\"https://en.wikipedia.org/wiki/List_of_New_Music_America_performances\" rel=\"noopener\" target=\"_blank\">New Music America festival\u003c/a>, a week-long gathering of experimental sound and music luminaries in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13824768\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg\" alt=\"Project ephemera from 'Landscape Sculpture with Foghorns,' June 1981; Design by Catherine Caldwell.\" width=\"2048\" height=\"1263\" class=\"size-full wp-image-13824768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-520x321.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Project ephemera from ‘Landscape Sculpture with Foghorns,’ June 1981; Design by Catherine Caldwell. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that festival, Brian Eno performed “Music for Museums” at the Berkeley Art Museum. Pauline Oliveros performed “Travelling Companions” in the Marx Meadow of Golden Gate Park. And Fontana, still early in his career as a composer and sound artist, installed eight microphones at points throughout the San Francisco Bay to pick up the sounds of foghorns in the foggy first weeks of June. (As much as the built landscape and demographics of San Francisco change, perhaps there is comfort in the fact that it will always be foggy in June.)\u003c/p>\n\u003cp>\u003ci>Landscape Sculpture with Foghorns\u003c/i> was such a mammoth project — with microphones positioned on Treasure Island, Alcatraz, Angel Island, the Golden Gate Bridge, the Marin Headlands and elsewhere — that it attracted the attention of KQED, who partnered with Fontana to release a \u003ca href=\"https://www.discogs.com/Bill-Fontana-Landscape-Sculpture-With-Fog-Horns/release/1719702\" rel=\"noopener\" target=\"_blank\">now sought-after long-playing LP\u003c/a> of Fontana’s recordings of the bay.\u003c/p>\n\u003cp>For the current reinstallation, eight speakers mounted along the eastern wall of Pier 2 broadcast the same ambient sounds heard by listeners in 1981: wind, waves, foghorns, the occasional automobile and seagulls. Mingling with the nearly identical sounds of 2018, the only clue that \u003ci>Landscape Sculpture with Foghorns\u003c/i> is temporally out of place is the fact that it can be heard on a perfectly sunny day.\u003c/p>\n\u003cfigure id=\"attachment_13824772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Black Sea Study,' 2014.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13824772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Black Sea Study,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this “sound sculpture” — as Fontana terms such work — is a group of video pieces inside SFAI’s exhibition space. Three screens play \u003ci>Space Voyage\u003c/i>, studies of sound and moving image Fontana recently made around the Fort Mason waterfront. On one, a split pier piling moves hypnotically with the motion of the water beneath it, a glug-glug sound mingling with other watery noises. For those prone to motion sickness, gripping the cushioned bench provided may help. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around the corner in the Gray Box Gallery (previously home to \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games/\" rel=\"noopener\" target=\"_blank\">Isaac Julien\u003c/a>’s \u003ci>Better Life (Ten Thousand Waves)\u003c/i>), Fontana shows a newly created diptych from two recordings made years and thousands of miles apart. Attaching seismic accelerometers to a bell used in New York’s MetLife Tower and a temple bell in Kyoto, Fontana recorded the internal resonance of the bells at rest, capturing sounds imperceptible to the human ear. A technologically aided form of “deep listening,” Fontana describes the process as capturing the bells’ “acoustic energy.” \u003c/p>\n\u003cfigure id=\"attachment_13824773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Resonant Silences (Southern facing bell, MetLife Tower, New York),' 2015.\" width=\"1200\" height=\"714\" class=\"size-full wp-image-13824773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-520x309.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Resonant Silences (Southern facing bell, MetLife Tower, New York),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to that internal resonance, Fontana’s equipment picks up the sounds each bell “hears,” depending on its location: city life, New York weather, chirping birds, footsteps on gravel. As Fontana says: “The bell is always listening.”\u003c/p>\n\u003cp>If it’s daunting to dwell too long on the magnitude of what humans cannot hear, the sonic space created by \u003ci>Landscape Sculpture with Foghorns\u003c/i> offers something a bit more soothing, despite its eerie displacement in time. As a foghorn blares on one speaker, another location picks up the same blast a bit later, creating a deep call and response that sounds symphonic.\u003c/p>\n\u003cp>I found myself walking away from Fort Mason listening intently. How long could I hear the foghorns fading behind me? What was that new gurgling sound coming from under the sidewalk? From its outset, \u003ci>Landscape Sculpture with Foghorns\u003c/i> asks if deep looking and listening can change the way we experience the world. Thankfully, even nearly four decades later — it can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Bill Fontana: Landscape Sculpture with Foghorns’ is on view at the San Francisco Art Institute’s Fort Mason Campus through April 22, 2018. For more information, \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/bill-fontana\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not every day you get to travel through time — but a carefully arranged group of audio speakers along the San Francisco waterfront allows visitors to do just that.\u003c/p>\n\u003cp>The centerpiece of \u003ca href=\"http://resoundings.org/\" rel=\"noopener\" target=\"_blank\">Bill Fontana\u003c/a>’s three-month-long installation at SFAI’s Fort Mason Campus, \u003ci>Landscape Sculpture with Foghorns\u003c/i>, transports its audiences through time — but not space — to 1981. It was then that Fontana participated in the \u003ca href=\"https://en.wikipedia.org/wiki/List_of_New_Music_America_performances\" rel=\"noopener\" target=\"_blank\">New Music America festival\u003c/a>, a week-long gathering of experimental sound and music luminaries in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13824768\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg\" alt=\"Project ephemera from 'Landscape Sculpture with Foghorns,' June 1981; Design by Catherine Caldwell.\" width=\"2048\" height=\"1263\" class=\"size-full wp-image-13824768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-520x321.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Project ephemera from ‘Landscape Sculpture with Foghorns,’ June 1981; Design by Catherine Caldwell. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that festival, Brian Eno performed “Music for Museums” at the Berkeley Art Museum. Pauline Oliveros performed “Travelling Companions” in the Marx Meadow of Golden Gate Park. And Fontana, still early in his career as a composer and sound artist, installed eight microphones at points throughout the San Francisco Bay to pick up the sounds of foghorns in the foggy first weeks of June. (As much as the built landscape and demographics of San Francisco change, perhaps there is comfort in the fact that it will always be foggy in June.)\u003c/p>\n\u003cp>\u003ci>Landscape Sculpture with Foghorns\u003c/i> was such a mammoth project — with microphones positioned on Treasure Island, Alcatraz, Angel Island, the Golden Gate Bridge, the Marin Headlands and elsewhere — that it attracted the attention of KQED, who partnered with Fontana to release a \u003ca href=\"https://www.discogs.com/Bill-Fontana-Landscape-Sculpture-With-Fog-Horns/release/1719702\" rel=\"noopener\" target=\"_blank\">now sought-after long-playing LP\u003c/a> of Fontana’s recordings of the bay.\u003c/p>\n\u003cp>For the current reinstallation, eight speakers mounted along the eastern wall of Pier 2 broadcast the same ambient sounds heard by listeners in 1981: wind, waves, foghorns, the occasional automobile and seagulls. Mingling with the nearly identical sounds of 2018, the only clue that \u003ci>Landscape Sculpture with Foghorns\u003c/i> is temporally out of place is the fact that it can be heard on a perfectly sunny day.\u003c/p>\n\u003cfigure id=\"attachment_13824772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Black Sea Study,' 2014.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13824772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Black Sea Study,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this “sound sculpture” — as Fontana terms such work — is a group of video pieces inside SFAI’s exhibition space. Three screens play \u003ci>Space Voyage\u003c/i>, studies of sound and moving image Fontana recently made around the Fort Mason waterfront. On one, a split pier piling moves hypnotically with the motion of the water beneath it, a glug-glug sound mingling with other watery noises. For those prone to motion sickness, gripping the cushioned bench provided may help. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around the corner in the Gray Box Gallery (previously home to \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games/\" rel=\"noopener\" target=\"_blank\">Isaac Julien\u003c/a>’s \u003ci>Better Life (Ten Thousand Waves)\u003c/i>), Fontana shows a newly created diptych from two recordings made years and thousands of miles apart. Attaching seismic accelerometers to a bell used in New York’s MetLife Tower and a temple bell in Kyoto, Fontana recorded the internal resonance of the bells at rest, capturing sounds imperceptible to the human ear. A technologically aided form of “deep listening,” Fontana describes the process as capturing the bells’ “acoustic energy.” \u003c/p>\n\u003cfigure id=\"attachment_13824773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Resonant Silences (Southern facing bell, MetLife Tower, New York),' 2015.\" width=\"1200\" height=\"714\" class=\"size-full wp-image-13824773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-520x309.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Resonant Silences (Southern facing bell, MetLife Tower, New York),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to that internal resonance, Fontana’s equipment picks up the sounds each bell “hears,” depending on its location: city life, New York weather, chirping birds, footsteps on gravel. As Fontana says: “The bell is always listening.”\u003c/p>\n\u003cp>If it’s daunting to dwell too long on the magnitude of what humans cannot hear, the sonic space created by \u003ci>Landscape Sculpture with Foghorns\u003c/i> offers something a bit more soothing, despite its eerie displacement in time. As a foghorn blares on one speaker, another location picks up the same blast a bit later, creating a deep call and response that sounds symphonic.\u003c/p>\n\u003cp>I found myself walking away from Fort Mason listening intently. How long could I hear the foghorns fading behind me? What was that new gurgling sound coming from under the sidewalk? From its outset, \u003ci>Landscape Sculpture with Foghorns\u003c/i> asks if deep looking and listening can change the way we experience the world. Thankfully, even nearly four decades later — it can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Bill Fontana: Landscape Sculpture with Foghorns’ is on view at the San Francisco Art Institute’s Fort Mason Campus through April 22, 2018. For more information, \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/bill-fontana\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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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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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"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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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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