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"content": "\u003cp>At \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener\">The Universe Is Lit\u003c/a>, the black and brown punk festival that took place last August, \u003ca href=\"http://www.sashakelley.info/\" target=\"_blank\" rel=\"noopener\">Sasha Kelley\u003c/a> sat in the crowd of a scrappy backyard show in Oakland, watching the singer of a hardcore band yell into the microphone as dreadlocked and blue-lipsticked fans moshed around her. From behind, she blended right in with the other twenty-something-year-old attendees. But in her lap, she held her dimpled three-year-old daughter Ameenah, happily bobbing her head along to the music.\u003c/p>\n\u003cfigure id=\"attachment_13828294\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being an artist and entrepreneur in Oakland takes a lot of networking, and multitasking childcare and events is something Kelley, a single mom, has become quite good at in recent years. She’s a photographer with her own practice (most recently, her work was featured in the Berkeley Art Museum and Pacific Film Archive’s \u003ca href=\"https://www.kqed.org/arts/13819924\" target=\"_blank\" rel=\"noopener\">\u003cem>Way Bay\u003c/em> exhibition\u003c/a>). But much of her other, community-based projects are rooted in the “it takes a village” mentality — not just toward raising Ameenah, but in her entire business approach.\u003c/p>\n\u003cp>Kelley is the co-founder of \u003ca href=\"http://www.thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">House of Malico\u003c/a>, an activist-oriented creative agency that presents events like the recent \u003ca href=\"https://bampfa.org/event/house-malico-spectrum-summit\" target=\"_blank\" rel=\"noopener\">Spectrum Summit\u003c/a>, a community discussion on black mental health that took place in March at BAMPFA. House of Malico’s work spans many disciplines, but its core principles hinge on creating paths to financial solvency for artists and alternative wellness practitioners, whether through events, marketing, other creative services, or workshops.\u003c/p>\n\u003cp>“The House of Malico exists to create jobs for women of color,” says Kelley, “And more specifically, to give these creatives market-rate or above-market-rate opportunities to fulfill their passions — not the starving artist idea.”\u003c/p>\n\u003cfigure id=\"attachment_13828283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg\" alt=\"Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that goal has come with its challenges for Kelley, who makes roughly $18,000 a year through a combination of grants, freelance work, and government assistance. Getting by on that income, let alone with a child, might seem impossible at a time when living expenses are skyrocketing across the Bay Area. But Kelley is incredibly resourceful, and taps into a like-minded community of artists to make her life manageable as she works towards creative goals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I see my long-term goal: I’m working towards my retrospective show, and working from when I’m 75, chillin’ on the beach and drinking lemonade,” she says. “I see the bigger vision. And I also am very adamant about working for myself and taking the sacrifice.”\u003c/p>\n\u003ch3>‘We have to be incredibly resourceful. There’s not really any other way.’\u003c/h3>\n\u003cp>Those sacrifices come in many forms. Kelley and Ameenah live in Pittsburg with Kelley’s grandmother (where rent is $800), but nearly everything else in their lives takes place in Oakland, the heart of the East Bay’s art scene. Pittsburg is a two-and-a-half hour commute from Ameenah’s private preschool in the Oakland hills, which would ordinarily would cost the family $1,200 a month, but is free thanks to a scholarship.\u003c/p>\n\u003cp>After taking Ameenah to school, Kelley then commutes another hour by bus to her job at \u003ca href=\"http://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Museum\u003c/a>, an art gallery and event space in West Oakland. The mother and daughter often couch-surf with friends during the week to save time on the commute.\u003c/p>\n\u003cfigure id=\"attachment_13828284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg\" alt=\"Sasha Kelley with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An added challenge is that Ameenah’s dad, with whom Kelley typically co-parents, recently moved to L.A. to pursue a music career, meaning that Kelley has their three-year-old full time. As another money-saving move, Kelley recently began doing photography for one of her friends, another young mom, in exchange for free childcare.\u003c/p>\n\u003cp>“It’s actually been really good,” she says. “I’m able to get the time that I need to sleep and do whatever adult things I need in that time. And it’s also propelling my photography practice.”\u003c/p>\n\u003cp>Kelley relies on work-trades to afford certain necessities, one of which is her art studio at Alena Museum. As the executive assistant, she organizes events, writes grants, and takes care of strategic planning, cleaning, and whatever else needs to get done in exchange for her studio space, which would otherwise cost $250 a month. (She does, however, spend $150 a month on film for her camera.)\u003c/p>\n\u003cfigure id=\"attachment_13828282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg\" alt=\"Sasha Kelley working at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley working at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Government assistance helps provide some stability, but Kelley is actively working towards the goal of getting off welfare, which currently provides her with $580 a month in cash assistance and $300 in food stamps. She has an upcoming meeting with a social worker from Contra Costa County to examine ways to make House of Malico more profitable.\u003c/p>\n\u003cp>“For these last few years of me figuring it out, things have been really tight. But it’s starting to feel like it’s paying off,” she says. “Things are getting more clear with House of Malico and business, things are starting to align, people are starting to reach out to us.”\u003c/p>\n\u003cp>While many young artists in the Bay Area have parents helping pay their rent, relying on family for financial support isn’t an option for Kelley. “[Ameenah’s dad and I] both come from families that were heavily impacted by the crack epidemic in different ways,” she says. “It’s just a blessing that we are sane and following our passions, and within that, we have to be incredibly resourceful. There’s not really any other way.”\u003c/p>\n\u003ch3>Cultivating sustainable sources of income\u003c/h3>\n\u003cp>Most of Kelley’s income-generating gigs come through the House of Malico. She received a $2,500 stipend from the San Francisco Foundation for House of Malico’s latest project, \u003ca href=\"http://www.thehouseofmalico.com/elements-retreat\" target=\"_blank\" rel=\"noopener\">Elements\u003c/a>, a retreat for artists and activists of color to strategize for social justice and practice self-care. House of Malico also does marketing for local small-business clients like \u003ca href=\"https://www.sumistouch.com/\" target=\"_blank\" rel=\"noopener\">Sumi’s Touch\u003c/a>, Oakland activist Sumayyah Franklin’s midwifery business. And freelance photography gigs also come in occasionally. Kelley estimates that about $12,500 of her annual earnings come from art-related work.\u003c/p>\n\u003cfigure id=\"attachment_13828281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg\" alt=\"Sasha Kelley at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contract gigs for House of Malico tend to come in spurts, so Kelley has to budget carefully to prepare for dry periods between jobs.\u003c/p>\n\u003cp>“Last year we got a good-sized contract with \u003ca href=\"http://eastoaklandbhc.org/\" target=\"_blank\" rel=\"noopener\">East Oakland Building Healthy Communities\u003c/a>. So I was like, ‘Dope! I have my goal monthly income,’” says Kelley. “But usually a lot of the clients we have might be for three to four months, so just figuring out that gap of like, our needs are met — and now we don’t have any clients, so what does that look like? I’m teaching myself how to save and getting a little more financial literacy so that when those gaps come, I’m not shit out of luck.”\u003c/p>\n\u003cp>Kelley has been trying to move to Oakland instead of crashing with friends during the week, but her housing search hasn’t been fruitful; it turns out most single people living with roommates don’t want small children around. So alongside three other single moms, she’s looking to start something called Mom House, a co-op for fellow single-mom artists who share childcare and domestic duties so that they can have time to work on their various crafts — and eat and shower in peace.\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley says she’s considered taking a more traditional full-time job, but she’s worried about how being an overworked, stretched-thin single mother would impact her relationship with her daughter.\u003c/p>\n\u003cp>“I did that growing up with my mom, and two decades later, we’re still healing our relationship from the time we missed when she was working to provide a house and food for us,” she says, narrowing her eyes with determination. “I don’t want that. I want to be present for Ameenah.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more stories in ‘The Hustle,’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Artists, we want to know: what’s your hustle? Take our Bay Area artist survey \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener\">The Universe Is Lit\u003c/a>, the black and brown punk festival that took place last August, \u003ca href=\"http://www.sashakelley.info/\" target=\"_blank\" rel=\"noopener\">Sasha Kelley\u003c/a> sat in the crowd of a scrappy backyard show in Oakland, watching the singer of a hardcore band yell into the microphone as dreadlocked and blue-lipsticked fans moshed around her. From behind, she blended right in with the other twenty-something-year-old attendees. But in her lap, she held her dimpled three-year-old daughter Ameenah, happily bobbing her head along to the music.\u003c/p>\n\u003cfigure id=\"attachment_13828294\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being an artist and entrepreneur in Oakland takes a lot of networking, and multitasking childcare and events is something Kelley, a single mom, has become quite good at in recent years. She’s a photographer with her own practice (most recently, her work was featured in the Berkeley Art Museum and Pacific Film Archive’s \u003ca href=\"https://www.kqed.org/arts/13819924\" target=\"_blank\" rel=\"noopener\">\u003cem>Way Bay\u003c/em> exhibition\u003c/a>). But much of her other, community-based projects are rooted in the “it takes a village” mentality — not just toward raising Ameenah, but in her entire business approach.\u003c/p>\n\u003cp>Kelley is the co-founder of \u003ca href=\"http://www.thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">House of Malico\u003c/a>, an activist-oriented creative agency that presents events like the recent \u003ca href=\"https://bampfa.org/event/house-malico-spectrum-summit\" target=\"_blank\" rel=\"noopener\">Spectrum Summit\u003c/a>, a community discussion on black mental health that took place in March at BAMPFA. House of Malico’s work spans many disciplines, but its core principles hinge on creating paths to financial solvency for artists and alternative wellness practitioners, whether through events, marketing, other creative services, or workshops.\u003c/p>\n\u003cp>“The House of Malico exists to create jobs for women of color,” says Kelley, “And more specifically, to give these creatives market-rate or above-market-rate opportunities to fulfill their passions — not the starving artist idea.”\u003c/p>\n\u003cfigure id=\"attachment_13828283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg\" alt=\"Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that goal has come with its challenges for Kelley, who makes roughly $18,000 a year through a combination of grants, freelance work, and government assistance. Getting by on that income, let alone with a child, might seem impossible at a time when living expenses are skyrocketing across the Bay Area. But Kelley is incredibly resourceful, and taps into a like-minded community of artists to make her life manageable as she works towards creative goals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see my long-term goal: I’m working towards my retrospective show, and working from when I’m 75, chillin’ on the beach and drinking lemonade,” she says. “I see the bigger vision. And I also am very adamant about working for myself and taking the sacrifice.”\u003c/p>\n\u003ch3>‘We have to be incredibly resourceful. There’s not really any other way.’\u003c/h3>\n\u003cp>Those sacrifices come in many forms. Kelley and Ameenah live in Pittsburg with Kelley’s grandmother (where rent is $800), but nearly everything else in their lives takes place in Oakland, the heart of the East Bay’s art scene. Pittsburg is a two-and-a-half hour commute from Ameenah’s private preschool in the Oakland hills, which would ordinarily would cost the family $1,200 a month, but is free thanks to a scholarship.\u003c/p>\n\u003cp>After taking Ameenah to school, Kelley then commutes another hour by bus to her job at \u003ca href=\"http://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Museum\u003c/a>, an art gallery and event space in West Oakland. The mother and daughter often couch-surf with friends during the week to save time on the commute.\u003c/p>\n\u003cfigure id=\"attachment_13828284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg\" alt=\"Sasha Kelley with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An added challenge is that Ameenah’s dad, with whom Kelley typically co-parents, recently moved to L.A. to pursue a music career, meaning that Kelley has their three-year-old full time. As another money-saving move, Kelley recently began doing photography for one of her friends, another young mom, in exchange for free childcare.\u003c/p>\n\u003cp>“It’s actually been really good,” she says. “I’m able to get the time that I need to sleep and do whatever adult things I need in that time. And it’s also propelling my photography practice.”\u003c/p>\n\u003cp>Kelley relies on work-trades to afford certain necessities, one of which is her art studio at Alena Museum. As the executive assistant, she organizes events, writes grants, and takes care of strategic planning, cleaning, and whatever else needs to get done in exchange for her studio space, which would otherwise cost $250 a month. (She does, however, spend $150 a month on film for her camera.)\u003c/p>\n\u003cfigure id=\"attachment_13828282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg\" alt=\"Sasha Kelley working at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley working at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Government assistance helps provide some stability, but Kelley is actively working towards the goal of getting off welfare, which currently provides her with $580 a month in cash assistance and $300 in food stamps. She has an upcoming meeting with a social worker from Contra Costa County to examine ways to make House of Malico more profitable.\u003c/p>\n\u003cp>“For these last few years of me figuring it out, things have been really tight. But it’s starting to feel like it’s paying off,” she says. “Things are getting more clear with House of Malico and business, things are starting to align, people are starting to reach out to us.”\u003c/p>\n\u003cp>While many young artists in the Bay Area have parents helping pay their rent, relying on family for financial support isn’t an option for Kelley. “[Ameenah’s dad and I] both come from families that were heavily impacted by the crack epidemic in different ways,” she says. “It’s just a blessing that we are sane and following our passions, and within that, we have to be incredibly resourceful. There’s not really any other way.”\u003c/p>\n\u003ch3>Cultivating sustainable sources of income\u003c/h3>\n\u003cp>Most of Kelley’s income-generating gigs come through the House of Malico. She received a $2,500 stipend from the San Francisco Foundation for House of Malico’s latest project, \u003ca href=\"http://www.thehouseofmalico.com/elements-retreat\" target=\"_blank\" rel=\"noopener\">Elements\u003c/a>, a retreat for artists and activists of color to strategize for social justice and practice self-care. House of Malico also does marketing for local small-business clients like \u003ca href=\"https://www.sumistouch.com/\" target=\"_blank\" rel=\"noopener\">Sumi’s Touch\u003c/a>, Oakland activist Sumayyah Franklin’s midwifery business. And freelance photography gigs also come in occasionally. Kelley estimates that about $12,500 of her annual earnings come from art-related work.\u003c/p>\n\u003cfigure id=\"attachment_13828281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg\" alt=\"Sasha Kelley at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contract gigs for House of Malico tend to come in spurts, so Kelley has to budget carefully to prepare for dry periods between jobs.\u003c/p>\n\u003cp>“Last year we got a good-sized contract with \u003ca href=\"http://eastoaklandbhc.org/\" target=\"_blank\" rel=\"noopener\">East Oakland Building Healthy Communities\u003c/a>. So I was like, ‘Dope! I have my goal monthly income,’” says Kelley. “But usually a lot of the clients we have might be for three to four months, so just figuring out that gap of like, our needs are met — and now we don’t have any clients, so what does that look like? I’m teaching myself how to save and getting a little more financial literacy so that when those gaps come, I’m not shit out of luck.”\u003c/p>\n\u003cp>Kelley has been trying to move to Oakland instead of crashing with friends during the week, but her housing search hasn’t been fruitful; it turns out most single people living with roommates don’t want small children around. So alongside three other single moms, she’s looking to start something called Mom House, a co-op for fellow single-mom artists who share childcare and domestic duties so that they can have time to work on their various crafts — and eat and shower in peace.\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley says she’s considered taking a more traditional full-time job, but she’s worried about how being an overworked, stretched-thin single mother would impact her relationship with her daughter.\u003c/p>\n\u003cp>“I did that growing up with my mom, and two decades later, we’re still healing our relationship from the time we missed when she was working to provide a house and food for us,” she says, narrowing her eyes with determination. “I don’t want that. I want to be present for Ameenah.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more stories in ‘The Hustle,’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Artists, we want to know: what’s your hustle? Take our Bay Area artist survey \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-hustle-an-artist-and-sex-worker-taking-charge-of-her-business",
"title": "An Artist and Sex Worker Taking Charge of Her Business",
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"content": "\u003cp>The comment came in, like so many others before it: “Can’t believe people find this attractive. She looks like a liquor store a fat Arab chain-smokes in.” \u003c/p>\n\u003cfigure id=\"attachment_13827753\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ArabelleStats.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ArabelleStats.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ArabelleStats-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ArabelleStats-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arabelle Raphael filed it away in a special folder on her computer, the one reserved for the heinous comments men send to her on the internet. Later, she’d turn those comments into an art project underlining both the violence and dark humor in men’s various descriptions of her appearance. She’s used to them by now.\u003c/p>\n\u003cp>In her over eight years as an artist, writer and sex worker, Raphael has “done almost every form.” Before it closed in 2013, she performed at the Lusty Lady, the first unionized and worker-owned strip club in the country. She made her first adult film at Kink.com, which closed up shop at San Francisco’s Armory just last month. For her, the shrinking of the sex industry parallels the mass exodus of artists from the Bay Area’s changing social and economic landscape.\u003c/p>\n\u003cp>“From the venues, to the parties, to the Lusty Lady, so many different iconic San Francisco things have disappeared,” she says.\u003c/p>\n\u003cp>Those changes may mean a loss of community for Raphael, but not a loss of income. Rarely working for others, she’s been in charge of the production and distribution of her own image for years. This approach allows her to be more ethical in her work, without ceding control to directors or production companies. It also gives her financial autonomy; she makes roughly $150,000 a year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, art continues to be an integral part of her life, one which has garnered increased recognition. Last year she contributed a photographic series to SOMArts’ exhibition \u003ca href=\"http://www.somarts.org/stillworking/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a> and directed an experimental short film, \u003ci>La Nuisance\u003c/i>, about queer femme relationships. She also writes poetry, personal essays and opinion pieces — \u003ca href=\"https://theoutline.com/post/2986/stormy-daniels-trump-sex-work\" target=\"_blank\" rel=\"noopener\">a recent article in \u003ci>The Outline\u003c/i>\u003c/a> addresses the Stormy Daniels scandal, arguing that both the left and right sides of the political spectrum still fail to respect women who do sex work.\u003c/p>\n\u003cp>Such creative output is impressive, especially balanced against what can be an all-consuming job.\u003c/p>\n\u003cp>“I’ve just seen so many different artists leave,” she says. “I’d like to keep some of that alive while I’m still here.”\u003c/p>\n\u003cfigure id=\"attachment_13827660\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg\" alt=\"Raphael at home.\" width=\"1200\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-520x337.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Raphael at home. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I’ve built everything myself’\u003c/h3>\n\u003cp>The business that keeps Raphael, her husband, and her two cats happily ensconced in their East Bay apartment is “Arabelle.” Through a combination of self-produced videos, session work, phone sex and social media subscriptions (along with the odd art sale or article commission), Raphael supports her entire household. Her husband helps run the online stores by uploading and editing videos, as well as sometimes performing with her.\u003c/p>\n\u003cp>“I can’t complain,” she says. “I make very good money, especially for someone my age and background within this business.” Raphael emigrated to the Bay Area from France with her parents when she was five. Her mother is French and Tunisian, her father is an Iranian Jew. She’s worked in the sex industry since 2010.\u003c/p>\n\u003cp>“I call myself a ‘cult’ porn performer. I’m not mainstream, but I’ve had a following for a really long time that’s pretty dedicated — which is awesome,” she says. “And so as a weirdo, I’ve built everything myself.”\u003c/p>\n\u003cp>This means carving out her own niche and cultivating her own audience — on paid sites like OnlyFans, Clips4Sale and ManyVids, and free sites like Pornhub. (After fighting constantly to get her videos taken down from Pornhub, she reluctantly partnered with them to get paid for views.) But each of those sites also takes a percentage of her earnings, some as much as 40 percent.\u003c/p>\n\u003cfigure id=\"attachment_13827659\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200.jpg\" alt=\"Raphael at home.\" width=\"1200\" height=\"701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-1180x689.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-520x304.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Raphael at home. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other expenses add up. $1,700 goes to rent. $900 a month goes to health insurance, not including out-of-pocket medical expenses like regular testing. Around $1,000 a month goes to her assistant. Each month, $400 goes to advertising. She spends approximately $200 a month on Uber rides — when you’re traveling with lots of money, wearing high-end clothes and designer shoes, you don’t want to ride public transportation, Raphael says. She needs internet service for uploading videos and a smartphone with multiple phone lines. And nails; she spends $100 every other week on her nails.\u003c/p>\n\u003cp>“Class presentation is a huge thing,” she says. “If you want to make a certain amount and charge a certain amount, you need to look a certain way.” She updates her makeup and wardrobe regularly. “You can’t wear the same thing over and over,” she says.\u003c/p>\n\u003cp>“I make a lot of money, but doing my job is expensive,” she says, which is why she gets frustrated when she finds her videos on the internet for free. “No one wants to pay for porn anymore. It’s a problem,” she says. “Pay for your porn! That’s how we’re trying to eat.” When you’re watching it for free, she says, you’re taking money from small producers and performers — “you’re not stealing money from Weinstein.”\u003c/p>\n\u003ch3>‘You start to grow a thicker skin’\u003c/h3>\n\u003cp>That lack of recognition — of the humanity and vulnerability of sex workers — is something Raphael is very familiar with. In her ongoing project \u003ci>The evaluation of worth\u003c/i>, shown in \u003ci>We’re Still Working\u003c/i>, she photographs herself reenacting hateful comments collected over her years of being a female sex worker online.\u003c/p>\n\u003cp>Some of the images are disturbingly violent. Others skewer racist and misogynistic comments with Raphael’s own brand of gleeful absurdity. Each image is paired with the text she received, along with the commenter’s online handle, the platform, and the frequency of contact.\u003c/p>\n\u003cfigure id=\"attachment_13827649\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/evaluations2.jpg\" alt=\"Arabelle Raphael, from the series 'The evaluation of worth,' 2016. The accompanying text reads, in part, "you belong in a garden with your dress hiked up above you knees getting wet and dirty finger nails...and absolutely ravaged by me, daily... -The Purple Dozer, OkCupid, 4th letter"\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arabelle Raphael, from the series ‘The evaluation of worth,’ 2016. The accompanying text reads, in part, “you belong in a garden with your dress hiked up above you knees getting wet and dirty finger nails…and absolutely ravaged by me, daily… -The Purple Dozer, OkCupid, 4th letter” \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Raphael, the project is partly about holding a mirror up to the internet. “It’s really easy to say horrible things to people anonymously online. I think it gets worse when you’re a woman and even worse when you’re a sex worker,” she says. “This is what it’s like to be me in public.”\u003c/p>\n\u003cp>But the series — which she plans to expand into a book — is also about finally letting these hateful messages go after years of collecting them. “I started doing this at 21, and getting those comments that were always super racist and super violent was really upsetting. I remember it would just ruin my entire day,” she says. “I think I hit a point where that part of me died. You start to grow a thicker skin.”\u003c/p>\n\u003cp>Now, Raphael adheres to a strict “don’t feed the trolls” policy. She finds the nasty comments these days tend to come mostly from people who object to her political viewpoints. Especially if she posts about Trump.\u003c/p>\n\u003cp>“It’s interesting that such right-wingers follow me. You’re following an immigrant Iranian Jewish woman sex worker who performs with people of all genders and all backgrounds. I’m everything you hate,” she says. “It’s kind of amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13827658\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827658\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200.jpg\" alt=\"Raphael with a photo from 'The evaluation of worth' series.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Raphael with a photo from ‘The evaluation of worth’ series. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Saving for the future\u003c/h3>\n\u003cp>Looking ahead, Raphael says she has modest goals: to own land or a house, and to be financially secure. “I grew up with very financially insecure parents, so that’s always been a big thing for me,” she says. “I just want to be able to make my art and have someone care about it, because I do.”\u003c/p>\n\u003cp>In the short term, meeting those goals means maintaining her vast online presence and contributing to an IRA. When she started out in the sex industry, she says, she definitely made plenty of financial mistakes. “I made a lot of money really young and that is not always a good thing. I wasted a lot of money,” she says.\u003c/p>\n\u003cp>But about two years into her career, she realized she needed to get serious. “When you make the decision to get naked on internet, you give up a lot of opportunities. It hit me: I’ve sacrificed a lot, I need to milk this as much as humanly possible. And that’s when I really attacked my job,” she says. “It went from this thing I was doing, where it was nice to make money, to a business. I started affiliate accounts, set up entire sites, started making my own content, doing my own everything. And that was a huge shift.”\u003c/p>\n\u003cp>Importantly, producing her own videos has given Raphael the ability to control the conditions on set — and to make sure that when she hires additional talent, everyone involved is as comfortable as possible. “It’s not hard. That’s the part that’s upsetting,” she says of avoiding abuse and assault scandals within the sex industry. “It’s not hard to not suck.” On Raphael’s set, rates are figured out ahead of time, boundaries are discussed ahead of time, tests are taken and disclosed ahead of time. “I check in as much as possible with people,” she says.\u003c/p>\n\u003cp>And for those who think her work is exciting or action-packed, Raphael is quick to point out its mundane reality, not far removed from a typical cubicle job.\u003c/p>\n\u003cp>“Sex work requires a ridiculous amount of computer work,” she says. “It’s really boring.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The comment came in, like so many others before it: “Can’t believe people find this attractive. She looks like a liquor store a fat Arab chain-smokes in.” \u003c/p>\n\u003cfigure id=\"attachment_13827753\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ArabelleStats.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ArabelleStats.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ArabelleStats-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ArabelleStats-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arabelle Raphael filed it away in a special folder on her computer, the one reserved for the heinous comments men send to her on the internet. Later, she’d turn those comments into an art project underlining both the violence and dark humor in men’s various descriptions of her appearance. She’s used to them by now.\u003c/p>\n\u003cp>In her over eight years as an artist, writer and sex worker, Raphael has “done almost every form.” Before it closed in 2013, she performed at the Lusty Lady, the first unionized and worker-owned strip club in the country. She made her first adult film at Kink.com, which closed up shop at San Francisco’s Armory just last month. For her, the shrinking of the sex industry parallels the mass exodus of artists from the Bay Area’s changing social and economic landscape.\u003c/p>\n\u003cp>“From the venues, to the parties, to the Lusty Lady, so many different iconic San Francisco things have disappeared,” she says.\u003c/p>\n\u003cp>Those changes may mean a loss of community for Raphael, but not a loss of income. Rarely working for others, she’s been in charge of the production and distribution of her own image for years. This approach allows her to be more ethical in her work, without ceding control to directors or production companies. It also gives her financial autonomy; she makes roughly $150,000 a year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, art continues to be an integral part of her life, one which has garnered increased recognition. Last year she contributed a photographic series to SOMArts’ exhibition \u003ca href=\"http://www.somarts.org/stillworking/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a> and directed an experimental short film, \u003ci>La Nuisance\u003c/i>, about queer femme relationships. She also writes poetry, personal essays and opinion pieces — \u003ca href=\"https://theoutline.com/post/2986/stormy-daniels-trump-sex-work\" target=\"_blank\" rel=\"noopener\">a recent article in \u003ci>The Outline\u003c/i>\u003c/a> addresses the Stormy Daniels scandal, arguing that both the left and right sides of the political spectrum still fail to respect women who do sex work.\u003c/p>\n\u003cp>Such creative output is impressive, especially balanced against what can be an all-consuming job.\u003c/p>\n\u003cp>“I’ve just seen so many different artists leave,” she says. “I’d like to keep some of that alive while I’m still here.”\u003c/p>\n\u003cfigure id=\"attachment_13827660\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg\" alt=\"Raphael at home.\" width=\"1200\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-520x337.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Raphael at home. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I’ve built everything myself’\u003c/h3>\n\u003cp>The business that keeps Raphael, her husband, and her two cats happily ensconced in their East Bay apartment is “Arabelle.” Through a combination of self-produced videos, session work, phone sex and social media subscriptions (along with the odd art sale or article commission), Raphael supports her entire household. Her husband helps run the online stores by uploading and editing videos, as well as sometimes performing with her.\u003c/p>\n\u003cp>“I can’t complain,” she says. “I make very good money, especially for someone my age and background within this business.” Raphael emigrated to the Bay Area from France with her parents when she was five. Her mother is French and Tunisian, her father is an Iranian Jew. She’s worked in the sex industry since 2010.\u003c/p>\n\u003cp>“I call myself a ‘cult’ porn performer. I’m not mainstream, but I’ve had a following for a really long time that’s pretty dedicated — which is awesome,” she says. “And so as a weirdo, I’ve built everything myself.”\u003c/p>\n\u003cp>This means carving out her own niche and cultivating her own audience — on paid sites like OnlyFans, Clips4Sale and ManyVids, and free sites like Pornhub. (After fighting constantly to get her videos taken down from Pornhub, she reluctantly partnered with them to get paid for views.) But each of those sites also takes a percentage of her earnings, some as much as 40 percent.\u003c/p>\n\u003cfigure id=\"attachment_13827659\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200.jpg\" alt=\"Raphael at home.\" width=\"1200\" height=\"701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-1180x689.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_6_1200-520x304.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Raphael at home. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other expenses add up. $1,700 goes to rent. $900 a month goes to health insurance, not including out-of-pocket medical expenses like regular testing. Around $1,000 a month goes to her assistant. Each month, $400 goes to advertising. She spends approximately $200 a month on Uber rides — when you’re traveling with lots of money, wearing high-end clothes and designer shoes, you don’t want to ride public transportation, Raphael says. She needs internet service for uploading videos and a smartphone with multiple phone lines. And nails; she spends $100 every other week on her nails.\u003c/p>\n\u003cp>“Class presentation is a huge thing,” she says. “If you want to make a certain amount and charge a certain amount, you need to look a certain way.” She updates her makeup and wardrobe regularly. “You can’t wear the same thing over and over,” she says.\u003c/p>\n\u003cp>“I make a lot of money, but doing my job is expensive,” she says, which is why she gets frustrated when she finds her videos on the internet for free. “No one wants to pay for porn anymore. It’s a problem,” she says. “Pay for your porn! That’s how we’re trying to eat.” When you’re watching it for free, she says, you’re taking money from small producers and performers — “you’re not stealing money from Weinstein.”\u003c/p>\n\u003ch3>‘You start to grow a thicker skin’\u003c/h3>\n\u003cp>That lack of recognition — of the humanity and vulnerability of sex workers — is something Raphael is very familiar with. In her ongoing project \u003ci>The evaluation of worth\u003c/i>, shown in \u003ci>We’re Still Working\u003c/i>, she photographs herself reenacting hateful comments collected over her years of being a female sex worker online.\u003c/p>\n\u003cp>Some of the images are disturbingly violent. Others skewer racist and misogynistic comments with Raphael’s own brand of gleeful absurdity. Each image is paired with the text she received, along with the commenter’s online handle, the platform, and the frequency of contact.\u003c/p>\n\u003cfigure id=\"attachment_13827649\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/evaluations2.jpg\" alt=\"Arabelle Raphael, from the series 'The evaluation of worth,' 2016. The accompanying text reads, in part, "you belong in a garden with your dress hiked up above you knees getting wet and dirty finger nails...and absolutely ravaged by me, daily... -The Purple Dozer, OkCupid, 4th letter"\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/evaluations2-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arabelle Raphael, from the series ‘The evaluation of worth,’ 2016. The accompanying text reads, in part, “you belong in a garden with your dress hiked up above you knees getting wet and dirty finger nails…and absolutely ravaged by me, daily… -The Purple Dozer, OkCupid, 4th letter” \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Raphael, the project is partly about holding a mirror up to the internet. “It’s really easy to say horrible things to people anonymously online. I think it gets worse when you’re a woman and even worse when you’re a sex worker,” she says. “This is what it’s like to be me in public.”\u003c/p>\n\u003cp>But the series — which she plans to expand into a book — is also about finally letting these hateful messages go after years of collecting them. “I started doing this at 21, and getting those comments that were always super racist and super violent was really upsetting. I remember it would just ruin my entire day,” she says. “I think I hit a point where that part of me died. You start to grow a thicker skin.”\u003c/p>\n\u003cp>Now, Raphael adheres to a strict “don’t feed the trolls” policy. She finds the nasty comments these days tend to come mostly from people who object to her political viewpoints. Especially if she posts about Trump.\u003c/p>\n\u003cp>“It’s interesting that such right-wingers follow me. You’re following an immigrant Iranian Jewish woman sex worker who performs with people of all genders and all backgrounds. I’m everything you hate,” she says. “It’s kind of amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13827658\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827658\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200.jpg\" alt=\"Raphael with a photo from 'The evaluation of worth' series.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Raphael with a photo from ‘The evaluation of worth’ series. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Saving for the future\u003c/h3>\n\u003cp>Looking ahead, Raphael says she has modest goals: to own land or a house, and to be financially secure. “I grew up with very financially insecure parents, so that’s always been a big thing for me,” she says. “I just want to be able to make my art and have someone care about it, because I do.”\u003c/p>\n\u003cp>In the short term, meeting those goals means maintaining her vast online presence and contributing to an IRA. When she started out in the sex industry, she says, she definitely made plenty of financial mistakes. “I made a lot of money really young and that is not always a good thing. I wasted a lot of money,” she says.\u003c/p>\n\u003cp>But about two years into her career, she realized she needed to get serious. “When you make the decision to get naked on internet, you give up a lot of opportunities. It hit me: I’ve sacrificed a lot, I need to milk this as much as humanly possible. And that’s when I really attacked my job,” she says. “It went from this thing I was doing, where it was nice to make money, to a business. I started affiliate accounts, set up entire sites, started making my own content, doing my own everything. And that was a huge shift.”\u003c/p>\n\u003cp>Importantly, producing her own videos has given Raphael the ability to control the conditions on set — and to make sure that when she hires additional talent, everyone involved is as comfortable as possible. “It’s not hard. That’s the part that’s upsetting,” she says of avoiding abuse and assault scandals within the sex industry. “It’s not hard to not suck.” On Raphael’s set, rates are figured out ahead of time, boundaries are discussed ahead of time, tests are taken and disclosed ahead of time. “I check in as much as possible with people,” she says.\u003c/p>\n\u003cp>And for those who think her work is exciting or action-packed, Raphael is quick to point out its mundane reality, not far removed from a typical cubicle job.\u003c/p>\n\u003cp>“Sex work requires a ridiculous amount of computer work,” she says. “It’s really boring.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We at KQED Arts have seen a huge response to our series ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" rel=\"noopener\" target=\"_blank\">The Hustle\u003c/a>,’ about the ways artists manage the high cost of living in the Bay Area. Now, KQED Arts wants \u003cem>your\u003c/em> input. After so many other artists have left the Bay Area, how do you make it work in order to stay here? What are your side hustles? What advice do you have for other artists?\u003c/p>\n\u003cp>We’ll compile the results of the below survey for a report to run in April.\u003c/p>\n\u003cp>https://docs.google.com/forms/d/e/1FAIpQLSdvHAdoY7sGEPg60oJjSBlgJ-xTufZzaqFYYmLIrbH6cwzeTg/viewform?usp=sf_link\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We at KQED Arts have seen a huge response to our series ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" rel=\"noopener\" target=\"_blank\">The Hustle\u003c/a>,’ about the ways artists manage the high cost of living in the Bay Area. Now, KQED Arts wants \u003cem>your\u003c/em> input. After so many other artists have left the Bay Area, how do you make it work in order to stay here? What are your side hustles? What advice do you have for other artists?\u003c/p>\n\u003cp>We’ll compile the results of the below survey for a report to run in April.\u003c/p>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe\n src='https://docs.google.com/forms/d/e/1FAIpQLSdvHAdoY7sGEPg60oJjSBlgJ-xTufZzaqFYYmLIrbH6cwzeTg/viewform?usp=sf_link?embedded=true'\n title='https://docs.google.com/forms/d/e/1FAIpQLSdvHAdoY7sGEPg60oJjSBlgJ-xTufZzaqFYYmLIrbH6cwzeTg/viewform?usp=sf_link'\n width='760' height='500'\n frameborder='0'\n marginheight='0' marginwidth='0'>\u003c/iframe>\u003c/div>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n",
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"title": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n\u003c/div>\u003c/p>",
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"title": "An Artist With Four Jobs and a 380-Mile Weekly Commute",
"headTitle": "An Artist With Four Jobs and a 380-Mile Weekly Commute | KQED",
"content": "\u003cp>The San Francisco-based artist \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">Dana Hemenway\u003c/a> has gotten not one, but two parking tickets at UC Santa Cruz this school year.\u003c/p>\n\u003cfigure id=\"attachment_13826640\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13826640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adjunct faculty member, she \u003ci>has\u003c/i> a parking permit that should prevent such fines, but she also carries around placards for CSU East Bay and SF State. And after driving the 60 miles between Hayward and Santa Cruz from one adjunct faculty gig to another, she forgot to hang up her Santa Cruz placard. Twice. Hence, the tickets.\u003c/p>\n\u003cp>The irony isn’t lost on her. “The whole reason why I got the parking permits at all three places was so I wouldn’t have worry about finding free parking!”\u003c/p>\n\u003cp>Her current teaching schedule would mess with anyone’s sense of parking placard awareness. She teaches two days a week at SF State, two days at both CSU East Bay and UC Santa Cruz. All in all, she drives around 380 miles a week between the three. \u003c/p>\n\u003ch2>Nothing left to cut\u003c/h2>\n\u003cp>Little expenses like those parking tickets add up for Hemenway, who carefully balances her income from teaching, grants, commissions and art sales against the expenses of living in her $1,700-a-month one bedroom in San Francisco’s Mission District, owning a car, renting a studio and paying for health insurance, among other everyday necessities. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2017, she spent $6,000 in studio rent, $5,000 in art-related travel (including a month-long residency in Iceland and trips to NY and LA), $1,700 on art supplies, over $600 on the artist-run space \u003ca href=\"http://www.royalnonesuchgallery.com/\" rel=\"noopener\" target=\"_blank\">Royal NoneSuch Gallery\u003c/a>, where she was co-director for over two years, and almost $450 on “advertising,” which is how she classifies application fees and website costs. It adds up to around $18,000 spent on her art practice.\u003c/p>\n\u003cfigure id=\"attachment_13826685\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg\" alt=\"Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But she also made money from that practice: about $11,000 in art sales (she’s represented by \u003ca href=\"http://eleanorharwood.com/\" rel=\"noopener\" target=\"_blank\">Eleanor Harwood Gallery\u003c/a>), a \u003ca href=\"http://www.sfartscommission.org/content/2017-grantees\" rel=\"noopener\" target=\"_blank\">$11,250 grant\u003c/a> from the San Francisco Arts Commission and $14,000 from teaching. \u003c/p>\n\u003cp>This year, because of the SFAC grant and a commission for a piece in SFO’s Terminal 1, Hemenway, who works primarily in sculpture, will earn more than half her yearly income from her art practice. But that kind of success comes with its own costs: she’s hired a studio assistant one day a week to meet deadlines in the midst of her busy teaching schedule, she will likely hire an accountant to help her manage the $350,000 budget for the airport piece, and she still has to be extremely regimented about her spending.\u003c/p>\n\u003cp>In her words, “The \u003ci>New Yorker\u003c/i> subscription went out years ago.”\u003c/p>\n\u003cp>And last year, she came out just $8,000 ahead. “In terms of trying to figure out how to save money, I can’t get rid of the car because the car allows me to have the jobs at all the schools where I have to drive,” she says. “And I couldn’t get rid of my studio, because a big part of my income is actually coming from my art now.”\u003c/p>\n\u003cfigure id=\"attachment_13826689\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (Drywall Weave),' 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13826689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-520x367.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (Drywall Weave),’ 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her biggest unavoidable expenses is health insurance, which went up 50 percent from last year to about $400 a month — her income grew and her subsidy went down, but plan prices also increased. That’s almost as much as Hemenway pays for her studio at Minnesota Street Project. And because of her position as adjunct faculty, she’s ineligible for coverage from any of the three schools where she teaches classes like intro to sculpture and professional practices. \u003c/p>\n\u003cp>“They’re very careful not to get you past a certain place where they either have to contract with you or give you health insurance, because it costs the department so much more money,” Hemenway says. “It’s this chain effect of no one finding a way to resolve the issue and going through the loopholes as a result. I don’t fault the departments so specifically for that, but it is kind of like … oof.”\u003c/p>\n\u003ch2>Path of instability\u003c/h2>\n\u003cp>Hemenway has juggled multiple roles within the art world — and patchworked together a living — ever since she graduated from Mills College’s M.F.A. program in 2010. An experienced art administrator (she worked at the SFAC Galleries for four years before grad school), she had two paths in front of her: take a full-time administrative job at California College of the Arts, or work part-time for interactive video artist Camille Utterback as a studio manager. \u003c/p>\n\u003cp>“I very consciously chose to take the path of instability,” she says. “I knew that based on my experience prior to grad school that I couldn’t have a full time job and go to the studio afterwards. I like making art during the day. And I had to come to terms with that.”\u003c/p>\n\u003cp>That experience as a studio manager, watching Utterback receive, negotiate and execute public art commissions alongside her daily art practice, taught Hemenway valuable lessons about how to be an artist in the world. When she received the SFO commission, she negotiated a slightly higher artist fee than the contract initially offered.\u003c/p>\n\u003cfigure id=\"attachment_13826690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (object mounts),' 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13826690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (object mounts),’ 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had seen how much work is involved in public art. I knew that if the fee was too low, that the hourly rate for the amount of time I was going to put into the project would be almost nothing,” Hemenway says. “I should just try it and get as much as I possibly could for the fee part of the project identified and allocated, given that track record in public art.”\u003c/p>\n\u003cp>This is a piece of wisdom Hemenway imparts to all of her students. Even if you’re over the moon about an opportunity offered to you — to be in a show, to give a talk, to have your art featured somewhere in some way — you have to ask for compensation.\u003c/p>\n\u003cp>“We’re trained as artists — and perhaps even more so depending on your class, or gender or race background — to not ask for things,” Hemenway says. “Always ask.”\u003c/p>\n\u003ch2>‘Investing in your future’\u003c/h2>\n\u003cp>The New York-based \u003ca href=\"https://wageforwork.com/home\" rel=\"noopener\" target=\"_blank\">Working Artists for a Greater Economy\u003c/a> (W.A.G.E.), a nonprofit dedicated to establishing sustainable economic relationships between artists and institutions, makes the exact same argument, expanding the rationale beyond the individual artist. “In providing unpaid labor we not only exploit ourselves, we exploit each other,” \u003ca href=\"https://web.archive.org/web/20170622185351/http://www.wageforwork.com/news/2/updates\" rel=\"noopener\" target=\"_blank\">W.A.G.E. writes\u003c/a>. “When we participate in a race to the bottom we deny the participation of those who can’t afford to work for free.”\u003c/p>\n\u003cp>Organizations like W.A.G.E. and the Bay Area-based Compensation Foundation are part of a growing movement within the art world to make the financial workings of arts institutions more transparent and exhibition practices more equitable. W.A.G.E. provides an \u003ca href=\"https://wageforwork.com/fee-calculator\" rel=\"noopener\" target=\"_blank\">online fee calculator\u003c/a> where artists can measure the total operating budget of an institution against what W.A.G.E. argues they should be paid for various services (solo exhibitions, lectures, performances of existing works, etc.). \u003c/p>\n\u003cp>The Compensation Foundation’s \u003ca href=\"http://compensationfoundation.org/bayareaartistreport#/results\" rel=\"noopener\" target=\"_blank\">Bay Area Artists Report\u003c/a> offers a more bottom-up approach, creating a database of charts and graphs based on self-reported artist fees received from various local institutions. Interestingly, the Compensation Foundation also tracks non-monetary benefits, like “creative freedom” and “stimulating peer environment.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are factors Hemenway also takes into account when making decisions about her art career. The trick, she says, is to commit to the mindset of running a business — a business the greater economy tends not to recognize. \u003c/p>\n\u003cp>“As an artist, there’s no way you could ever get an investment loan for your business,” she says. “Restaurants are known for being wildly unsuccessful, but you can go to the bank with a business plan and ask for a loan. You can’t do that as an artist. You have to be your own bank as you’re starting out, investing in your future as an artist.”\u003c/p>\n\u003cp>When it comes to deciding whether or not to be in a group show, for example, she suggests weighing the financial burden (fabricating the work, possibly shipping it to and from the venue) against the potential benefits (showing with artists you respect, getting your artwork seen by people who might help you later). In this way, participating in an art exhibition, even without pay, can be an investment in your practice — and the future of your business. But you should always, always ask for more than you’re offered. “If you don’t ask for it, you’re not going to find out if that person’s willing to do it,” says Hemenway. “And people are so afraid to lose the opportunity that they won’t even ask.”\u003c/p>\n\u003cp>Artists should be paid for their labor, Hemenway says, and “pointing that out to people in a generous way is not a bad thing.”\u003c/p>\n\u003ch2>‘Next to impossible’\u003c/h2>\n\u003cp>Even though she’s savvy enough to negotiate for higher fees, carefully lines up her expenses in spreadsheets and packs her breakfast and lunch every morning, living in the Bay Area puts Hemenway in a precarious situation.\u003c/p>\n\u003cp>“This lifestyle that I’m doing right now is only sustainable for so long,” she says. “I could not have a kid in this budget. I could not have any long-term financial security in this budget. Giving to retirement is fairly limited in my situation. And those kinds of bigger life things you’d want to attain seem next to impossible in this current situation.”\u003c/p>\n\u003cfigure id=\"attachment_13826691\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg\" alt=\"Hemenway outside her Minnesota Street Project studio.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway outside her Minnesota Street Project studio. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline for figuring out whether she can stay in the Bay Area as a practicing artist depends on a variety of factors. Hemenway is looking into San Francisco’s affordable housing program. (The SFAC recently \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-partners-mission-economic\" rel=\"noopener\" target=\"_blank\">provided a grant\u003c/a> to the Mission Economic Development Agency to provide free coaching to artists and cultural workers navigating the city’s below-market-rate rental and purchasing options).\u003c/p>\n\u003cp>She also applies to tenure-track sculpture faculty positions wherever she can. None of those openings, thus far, have been in Bay Area schools. She’ll also keep applying to public art opportunities to raise her income and hopefully put more in savings.\u003c/p>\n\u003cp>Despite what many would deem as her success, Hemenway is anything but relaxed about her finances. “I constantly question if I’m making the right trade-offs,” she says. She moved to San Francisco in 2004. “Your rent and all of that is one thing. But then all the little expenses that have increased feel like the harder part. Because you feel like you can’t have a chill interaction with your finances.”\u003c/p>\n\u003cp>“You can’t be like ‘Yeah, I’m gonna get that cookie because I want it.’ You’re like, ‘Should I get it?’”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>To see more of Dana Hemenway’s artwork, \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "How does sculptor and adjunct professor Dana Hemenway get by in the Bay Area? By always packing her lunch.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based artist \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">Dana Hemenway\u003c/a> has gotten not one, but two parking tickets at UC Santa Cruz this school year.\u003c/p>\n\u003cfigure id=\"attachment_13826640\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13826640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adjunct faculty member, she \u003ci>has\u003c/i> a parking permit that should prevent such fines, but she also carries around placards for CSU East Bay and SF State. And after driving the 60 miles between Hayward and Santa Cruz from one adjunct faculty gig to another, she forgot to hang up her Santa Cruz placard. Twice. Hence, the tickets.\u003c/p>\n\u003cp>The irony isn’t lost on her. “The whole reason why I got the parking permits at all three places was so I wouldn’t have worry about finding free parking!”\u003c/p>\n\u003cp>Her current teaching schedule would mess with anyone’s sense of parking placard awareness. She teaches two days a week at SF State, two days at both CSU East Bay and UC Santa Cruz. All in all, she drives around 380 miles a week between the three. \u003c/p>\n\u003ch2>Nothing left to cut\u003c/h2>\n\u003cp>Little expenses like those parking tickets add up for Hemenway, who carefully balances her income from teaching, grants, commissions and art sales against the expenses of living in her $1,700-a-month one bedroom in San Francisco’s Mission District, owning a car, renting a studio and paying for health insurance, among other everyday necessities. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, she spent $6,000 in studio rent, $5,000 in art-related travel (including a month-long residency in Iceland and trips to NY and LA), $1,700 on art supplies, over $600 on the artist-run space \u003ca href=\"http://www.royalnonesuchgallery.com/\" rel=\"noopener\" target=\"_blank\">Royal NoneSuch Gallery\u003c/a>, where she was co-director for over two years, and almost $450 on “advertising,” which is how she classifies application fees and website costs. It adds up to around $18,000 spent on her art practice.\u003c/p>\n\u003cfigure id=\"attachment_13826685\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg\" alt=\"Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But she also made money from that practice: about $11,000 in art sales (she’s represented by \u003ca href=\"http://eleanorharwood.com/\" rel=\"noopener\" target=\"_blank\">Eleanor Harwood Gallery\u003c/a>), a \u003ca href=\"http://www.sfartscommission.org/content/2017-grantees\" rel=\"noopener\" target=\"_blank\">$11,250 grant\u003c/a> from the San Francisco Arts Commission and $14,000 from teaching. \u003c/p>\n\u003cp>This year, because of the SFAC grant and a commission for a piece in SFO’s Terminal 1, Hemenway, who works primarily in sculpture, will earn more than half her yearly income from her art practice. But that kind of success comes with its own costs: she’s hired a studio assistant one day a week to meet deadlines in the midst of her busy teaching schedule, she will likely hire an accountant to help her manage the $350,000 budget for the airport piece, and she still has to be extremely regimented about her spending.\u003c/p>\n\u003cp>In her words, “The \u003ci>New Yorker\u003c/i> subscription went out years ago.”\u003c/p>\n\u003cp>And last year, she came out just $8,000 ahead. “In terms of trying to figure out how to save money, I can’t get rid of the car because the car allows me to have the jobs at all the schools where I have to drive,” she says. “And I couldn’t get rid of my studio, because a big part of my income is actually coming from my art now.”\u003c/p>\n\u003cfigure id=\"attachment_13826689\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (Drywall Weave),' 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13826689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-520x367.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (Drywall Weave),’ 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her biggest unavoidable expenses is health insurance, which went up 50 percent from last year to about $400 a month — her income grew and her subsidy went down, but plan prices also increased. That’s almost as much as Hemenway pays for her studio at Minnesota Street Project. And because of her position as adjunct faculty, she’s ineligible for coverage from any of the three schools where she teaches classes like intro to sculpture and professional practices. \u003c/p>\n\u003cp>“They’re very careful not to get you past a certain place where they either have to contract with you or give you health insurance, because it costs the department so much more money,” Hemenway says. “It’s this chain effect of no one finding a way to resolve the issue and going through the loopholes as a result. I don’t fault the departments so specifically for that, but it is kind of like … oof.”\u003c/p>\n\u003ch2>Path of instability\u003c/h2>\n\u003cp>Hemenway has juggled multiple roles within the art world — and patchworked together a living — ever since she graduated from Mills College’s M.F.A. program in 2010. An experienced art administrator (she worked at the SFAC Galleries for four years before grad school), she had two paths in front of her: take a full-time administrative job at California College of the Arts, or work part-time for interactive video artist Camille Utterback as a studio manager. \u003c/p>\n\u003cp>“I very consciously chose to take the path of instability,” she says. “I knew that based on my experience prior to grad school that I couldn’t have a full time job and go to the studio afterwards. I like making art during the day. And I had to come to terms with that.”\u003c/p>\n\u003cp>That experience as a studio manager, watching Utterback receive, negotiate and execute public art commissions alongside her daily art practice, taught Hemenway valuable lessons about how to be an artist in the world. When she received the SFO commission, she negotiated a slightly higher artist fee than the contract initially offered.\u003c/p>\n\u003cfigure id=\"attachment_13826690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (object mounts),' 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13826690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (object mounts),’ 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had seen how much work is involved in public art. I knew that if the fee was too low, that the hourly rate for the amount of time I was going to put into the project would be almost nothing,” Hemenway says. “I should just try it and get as much as I possibly could for the fee part of the project identified and allocated, given that track record in public art.”\u003c/p>\n\u003cp>This is a piece of wisdom Hemenway imparts to all of her students. Even if you’re over the moon about an opportunity offered to you — to be in a show, to give a talk, to have your art featured somewhere in some way — you have to ask for compensation.\u003c/p>\n\u003cp>“We’re trained as artists — and perhaps even more so depending on your class, or gender or race background — to not ask for things,” Hemenway says. “Always ask.”\u003c/p>\n\u003ch2>‘Investing in your future’\u003c/h2>\n\u003cp>The New York-based \u003ca href=\"https://wageforwork.com/home\" rel=\"noopener\" target=\"_blank\">Working Artists for a Greater Economy\u003c/a> (W.A.G.E.), a nonprofit dedicated to establishing sustainable economic relationships between artists and institutions, makes the exact same argument, expanding the rationale beyond the individual artist. “In providing unpaid labor we not only exploit ourselves, we exploit each other,” \u003ca href=\"https://web.archive.org/web/20170622185351/http://www.wageforwork.com/news/2/updates\" rel=\"noopener\" target=\"_blank\">W.A.G.E. writes\u003c/a>. “When we participate in a race to the bottom we deny the participation of those who can’t afford to work for free.”\u003c/p>\n\u003cp>Organizations like W.A.G.E. and the Bay Area-based Compensation Foundation are part of a growing movement within the art world to make the financial workings of arts institutions more transparent and exhibition practices more equitable. W.A.G.E. provides an \u003ca href=\"https://wageforwork.com/fee-calculator\" rel=\"noopener\" target=\"_blank\">online fee calculator\u003c/a> where artists can measure the total operating budget of an institution against what W.A.G.E. argues they should be paid for various services (solo exhibitions, lectures, performances of existing works, etc.). \u003c/p>\n\u003cp>The Compensation Foundation’s \u003ca href=\"http://compensationfoundation.org/bayareaartistreport#/results\" rel=\"noopener\" target=\"_blank\">Bay Area Artists Report\u003c/a> offers a more bottom-up approach, creating a database of charts and graphs based on self-reported artist fees received from various local institutions. Interestingly, the Compensation Foundation also tracks non-monetary benefits, like “creative freedom” and “stimulating peer environment.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are factors Hemenway also takes into account when making decisions about her art career. The trick, she says, is to commit to the mindset of running a business — a business the greater economy tends not to recognize. \u003c/p>\n\u003cp>“As an artist, there’s no way you could ever get an investment loan for your business,” she says. “Restaurants are known for being wildly unsuccessful, but you can go to the bank with a business plan and ask for a loan. You can’t do that as an artist. You have to be your own bank as you’re starting out, investing in your future as an artist.”\u003c/p>\n\u003cp>When it comes to deciding whether or not to be in a group show, for example, she suggests weighing the financial burden (fabricating the work, possibly shipping it to and from the venue) against the potential benefits (showing with artists you respect, getting your artwork seen by people who might help you later). In this way, participating in an art exhibition, even without pay, can be an investment in your practice — and the future of your business. But you should always, always ask for more than you’re offered. “If you don’t ask for it, you’re not going to find out if that person’s willing to do it,” says Hemenway. “And people are so afraid to lose the opportunity that they won’t even ask.”\u003c/p>\n\u003cp>Artists should be paid for their labor, Hemenway says, and “pointing that out to people in a generous way is not a bad thing.”\u003c/p>\n\u003ch2>‘Next to impossible’\u003c/h2>\n\u003cp>Even though she’s savvy enough to negotiate for higher fees, carefully lines up her expenses in spreadsheets and packs her breakfast and lunch every morning, living in the Bay Area puts Hemenway in a precarious situation.\u003c/p>\n\u003cp>“This lifestyle that I’m doing right now is only sustainable for so long,” she says. “I could not have a kid in this budget. I could not have any long-term financial security in this budget. Giving to retirement is fairly limited in my situation. And those kinds of bigger life things you’d want to attain seem next to impossible in this current situation.”\u003c/p>\n\u003cfigure id=\"attachment_13826691\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg\" alt=\"Hemenway outside her Minnesota Street Project studio.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway outside her Minnesota Street Project studio. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline for figuring out whether she can stay in the Bay Area as a practicing artist depends on a variety of factors. Hemenway is looking into San Francisco’s affordable housing program. (The SFAC recently \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-partners-mission-economic\" rel=\"noopener\" target=\"_blank\">provided a grant\u003c/a> to the Mission Economic Development Agency to provide free coaching to artists and cultural workers navigating the city’s below-market-rate rental and purchasing options).\u003c/p>\n\u003cp>She also applies to tenure-track sculpture faculty positions wherever she can. None of those openings, thus far, have been in Bay Area schools. She’ll also keep applying to public art opportunities to raise her income and hopefully put more in savings.\u003c/p>\n\u003cp>Despite what many would deem as her success, Hemenway is anything but relaxed about her finances. “I constantly question if I’m making the right trade-offs,” she says. She moved to San Francisco in 2004. “Your rent and all of that is one thing. But then all the little expenses that have increased feel like the harder part. Because you feel like you can’t have a chill interaction with your finances.”\u003c/p>\n\u003cp>“You can’t be like ‘Yeah, I’m gonna get that cookie because I want it.’ You’re like, ‘Should I get it?’”\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>To see more of Dana Hemenway’s artwork, \u003ca href=\"http://www.danahemenway.com/\" 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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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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
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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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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},
"pbs-newshour": {
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},
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},
"perspectives": {
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"order": 14
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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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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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"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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