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"slug": "diedrick-brackens-ybca-gather-tender-night-textiles-review",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a> is, let’s admit, a tough space to fill with art. Its largest gallery is hangar-like, with impossibly high ceilings, one wall of windows and no interior divisions to speak of. Much of the artwork made at a human scale has a tendency to disappear in there, dwarfed by the spaciousness of its surroundings.\u003c/p>\n\u003cp>This is decidedly not the case with \u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">\u003ci>gather tender night\u003c/i>\u003c/a>, an exhibition of recent textile work by Bay Area artist (and California College of the Arts faculty member) Diedrick Brackens. His 15 large-scale textiles, hand-dyed and woven on floor looms, stretch to over 20 feet in length, softly hanging from walls, frames and ceiling throughout the well-arranged show. \u003c/p>\n\u003cp>I wish I could write this review without mentioning \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">the upcoming closure of CCA\u003c/a>, which is also Brackens’ alma mater. After graduating from the school’s MFA program in 2014, Brackens returned to CCA a decade later as faculty, with international museum exhibitions and a \u003ca href=\"https://jackshainman.com/artists/diedrick_brackens\">New York gallery\u003c/a> under his belt. I cannot think of a better example of how an art school draws talented people to a region — and gives local audiences access to work they’d otherwise have to travel elsewhere to see. (This is Brackens’ first solo exhibition in the Bay Area.)\u003c/p>\n\u003cfigure id=\"attachment_13987917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg\" alt=\"gallery view with large hanging textiles\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Diedrick Brackens’ ‘gather tender night’ at Yerba Buena Center for the Arts. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Eungie Joo, who also organized YBCA’s comeback exhibition \u003ci>\u003ca href=\"https://www.kqed.org/arts/13979705/ybca-bay-area-then-1990s-rigo-23-margaret-kilgallen\">Bay Area Then\u003c/a>\u003c/i> last summer, \u003ci>gather tender night\u003c/i> is a balance of monumental, colorful panels and delicate, tender scenes. In Brackens’ textiles, silhouetted bodies blend into peaceful landscapes and populate fairytale scenarios (\u003ci>to soothe a myth\u003c/i> features a rearing unicorn). There is something elemental about these figures, which bend in half, raise their arms to the sky and gaze up, seemingly in awe of their surroundings. \u003c/p>\n\u003cp>Part of the dreaminess of Brackens’ work comes from his color choices. The oldest work in the show, dating back to 2020, is made with a scintillating combination of bright vermillion and turquoise. Then, a shift to yellows and muted purples; next, desaturated jewel tones; and finally, in his most recent pieces, mauve, oceanic greens and blues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After dying lengths of cotton fiber in his studio, the weaving process causes sections of color to shift and misregister slightly, blurring the edges of shapes. Brackens plays off that painterly effect by leaving tails of black yarn dangling, like drips, from his silhouettes. \u003c/p>\n\u003cp>The best part of seeing \u003ci>gather tender night\u003c/i> at YBCA — and all the space that venue allows — is that visitors get to walk around many of the works. Two pieces hang from handsome wooden racks that nod to Brackens’ floor looms. Others hang from the two walls of a framed-out domestic space, which includes an installation of a bed (covered with a woven textile, of course), an overturned basket and a pile of pungent yellow soap. \u003c/p>\n\u003cfigure id=\"attachment_13987916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg\" alt=\"black silhouette and gray silhouette bend around each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘you’ll never get to heaven if you break my heart’ (detail), 2026; Woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On an “interior” wall hangs Brackens’ sole work that places his figures indoors, one bending backward to kiss another. The pair’s arms bracket each other’s heads in arcs of mutual protection. \u003c/p>\n\u003cp>Even visitors with minimal knowledge of what it means to make a double weave textile can intuit the construction of Brackens’ works, thanks to these airy hanging arrangements. On the versos, color-inverted landscapes become devoid of figures, which Brackens embroiders onto a textile’s surface.\u003c/p>\n\u003cp>Some of the most poetic moments in \u003ci>gather tender night\u003c/i> come from the juxtaposition of front and back. On \u003ci>blood compass\u003c/i>, the show’s largest piece, two figures look up at a flock of geese, a lighthouse in the background. But on the other side of the textile, the geese, water and lighthouse are alone. A few glimpses of black thread signal the figures’ ghostly presence.\u003c/p>\n\u003cfigure id=\"attachment_13987915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg\" alt=\"two textiles with plants and seated figures\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘commitments’ and ‘help is available,’ 2025; both woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other works, figures blend into foliage, appearing on a textile’s surface only in bits and pieces. \u003ci>commitments\u003c/i> and \u003ci>help is available\u003c/i>, both from 2025, show figures sitting cross-legged, arms raised above their heads. In the former, branches of angel’s trumpet occlude the heads and arms. In the latter, a bush of devil’s trumpet surrounds a torso and legs. Here, the repeated pose looks like a call for salvation.\u003c/p>\n\u003cp>Brackens’ dusky hues, especially in the more recent pieces, speak to night as a period of possibility, of slippery identity and greater freedom. But just as there is a flip side to each textile, so night gives way to day, and its potential for both visibility and accompanying violence. Brackens’ great skill is holding these realities together, embedding danger within softness, and giving his figures the freedom to stretch their arms, legs and eyes to a beautiful sherbet sky.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">gather tender night\u003c/a>’ is on view at Yerba Buena Center for the Arts (701 Mission St., San Francisco) through Aug. 23, 2026.\u003c/i>\u003c/p>\n\n",
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"title": "Review: Diedrick Brackens’ Monumental Textiles at YBCA | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a> is, let’s admit, a tough space to fill with art. Its largest gallery is hangar-like, with impossibly high ceilings, one wall of windows and no interior divisions to speak of. Much of the artwork made at a human scale has a tendency to disappear in there, dwarfed by the spaciousness of its surroundings.\u003c/p>\n\u003cp>This is decidedly not the case with \u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">\u003ci>gather tender night\u003c/i>\u003c/a>, an exhibition of recent textile work by Bay Area artist (and California College of the Arts faculty member) Diedrick Brackens. His 15 large-scale textiles, hand-dyed and woven on floor looms, stretch to over 20 feet in length, softly hanging from walls, frames and ceiling throughout the well-arranged show. \u003c/p>\n\u003cp>I wish I could write this review without mentioning \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">the upcoming closure of CCA\u003c/a>, which is also Brackens’ alma mater. After graduating from the school’s MFA program in 2014, Brackens returned to CCA a decade later as faculty, with international museum exhibitions and a \u003ca href=\"https://jackshainman.com/artists/diedrick_brackens\">New York gallery\u003c/a> under his belt. I cannot think of a better example of how an art school draws talented people to a region — and gives local audiences access to work they’d otherwise have to travel elsewhere to see. (This is Brackens’ first solo exhibition in the Bay Area.)\u003c/p>\n\u003cfigure id=\"attachment_13987917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg\" alt=\"gallery view with large hanging textiles\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Diedrick Brackens’ ‘gather tender night’ at Yerba Buena Center for the Arts. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Eungie Joo, who also organized YBCA’s comeback exhibition \u003ci>\u003ca href=\"https://www.kqed.org/arts/13979705/ybca-bay-area-then-1990s-rigo-23-margaret-kilgallen\">Bay Area Then\u003c/a>\u003c/i> last summer, \u003ci>gather tender night\u003c/i> is a balance of monumental, colorful panels and delicate, tender scenes. In Brackens’ textiles, silhouetted bodies blend into peaceful landscapes and populate fairytale scenarios (\u003ci>to soothe a myth\u003c/i> features a rearing unicorn). There is something elemental about these figures, which bend in half, raise their arms to the sky and gaze up, seemingly in awe of their surroundings. \u003c/p>\n\u003cp>Part of the dreaminess of Brackens’ work comes from his color choices. The oldest work in the show, dating back to 2020, is made with a scintillating combination of bright vermillion and turquoise. Then, a shift to yellows and muted purples; next, desaturated jewel tones; and finally, in his most recent pieces, mauve, oceanic greens and blues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After dying lengths of cotton fiber in his studio, the weaving process causes sections of color to shift and misregister slightly, blurring the edges of shapes. Brackens plays off that painterly effect by leaving tails of black yarn dangling, like drips, from his silhouettes. \u003c/p>\n\u003cp>The best part of seeing \u003ci>gather tender night\u003c/i> at YBCA — and all the space that venue allows — is that visitors get to walk around many of the works. Two pieces hang from handsome wooden racks that nod to Brackens’ floor looms. Others hang from the two walls of a framed-out domestic space, which includes an installation of a bed (covered with a woven textile, of course), an overturned basket and a pile of pungent yellow soap. \u003c/p>\n\u003cfigure id=\"attachment_13987916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg\" alt=\"black silhouette and gray silhouette bend around each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘you’ll never get to heaven if you break my heart’ (detail), 2026; Woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On an “interior” wall hangs Brackens’ sole work that places his figures indoors, one bending backward to kiss another. The pair’s arms bracket each other’s heads in arcs of mutual protection. \u003c/p>\n\u003cp>Even visitors with minimal knowledge of what it means to make a double weave textile can intuit the construction of Brackens’ works, thanks to these airy hanging arrangements. On the versos, color-inverted landscapes become devoid of figures, which Brackens embroiders onto a textile’s surface.\u003c/p>\n\u003cp>Some of the most poetic moments in \u003ci>gather tender night\u003c/i> come from the juxtaposition of front and back. On \u003ci>blood compass\u003c/i>, the show’s largest piece, two figures look up at a flock of geese, a lighthouse in the background. But on the other side of the textile, the geese, water and lighthouse are alone. A few glimpses of black thread signal the figures’ ghostly presence.\u003c/p>\n\u003cfigure id=\"attachment_13987915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg\" alt=\"two textiles with plants and seated figures\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘commitments’ and ‘help is available,’ 2025; both woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other works, figures blend into foliage, appearing on a textile’s surface only in bits and pieces. \u003ci>commitments\u003c/i> and \u003ci>help is available\u003c/i>, both from 2025, show figures sitting cross-legged, arms raised above their heads. In the former, branches of angel’s trumpet occlude the heads and arms. In the latter, a bush of devil’s trumpet surrounds a torso and legs. Here, the repeated pose looks like a call for salvation.\u003c/p>\n\u003cp>Brackens’ dusky hues, especially in the more recent pieces, speak to night as a period of possibility, of slippery identity and greater freedom. But just as there is a flip side to each textile, so night gives way to day, and its potential for both visibility and accompanying violence. Brackens’ great skill is holding these realities together, embedding danger within softness, and giving his figures the freedom to stretch their arms, legs and eyes to a beautiful sherbet sky.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">gather tender night\u003c/a>’ is on view at Yerba Buena Center for the Arts (701 Mission St., San Francisco) through Aug. 23, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ybca-bay-area-then-1990s-rigo-23-margaret-kilgallen",
"title": "‘Bay Area Then’ Uplifts the Radical Artists of ’90s San Francisco",
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"headTitle": "‘Bay Area Then’ Uplifts the Radical Artists of ’90s San Francisco | KQED",
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"content": "\u003cfigure id=\"attachment_13979732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg\" alt=\"four people stand in front of a mural depicting scenes from Gaza and San Francisco, including Palestinians using bullhorns, self-driving cars, journalists being trampled and a tall red and white tower\" width=\"2000\" height=\"1323\" class=\"size-full wp-image-13979732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23’s ‘Terra Nullius,’ which connects San Francisco’s tech industry to the destruction of Gaza, is a powerful highlight of ‘Bay Area Then,’ on view through Jan. 25, 2026 at YBCA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>’ new exhibition \u003ca href=\"https://ybca.org/event/bay-area-then/\">\u003ci>Bay Area Then\u003c/i> \u003c/a>offers a glimpse of San Francisco in the ’90s, before tech and its hyper-driven version of capitalism overtook the city, and when rents were low enough for artists to thrive. Working-class young people could not only afford to live here — they also had the time and energy to run weird, experimental galleries and participate in revolutionary organizing.\u003c/p>\n\u003cp>Smartly curated by Eungie Joo, \u003cem>Bay Area Then\u003c/em> surveys the vibrant cultures that emerged from the AIDS crisis, the LAPD beating of Rodney King and the first Gulf War, connecting the dots from each to today’s political struggles.\u003c/p>\n\u003cp>The show opens with clusters of ephemera: amateur film photos, graffiti zines and photocopied flyers. Whether protesting art censorship or advocating for squatting in abandoned properties, the flyers point to a hopeful radicalism that thrived in an age before ubiquitous AI and mass surveillance. These informal pieces — whose creators probably never thought they’d end up in a museum — lend \u003ci>Bay Area Then\u003c/i> a grassroots feel that’s rare for a white-walled, capital-A art institution.\u003c/p>\n\u003cfigure id=\"attachment_13979708\" class=\"wp-caption aligncenter\" style=\"max-width: 1976px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg\" alt=\"\" width=\"1976\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg 1976w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1581x2048.jpg 1581w\" sizes=\"auto, (max-width: 1976px) 100vw, 1976px\">\u003cfigcaption class=\"wp-caption-text\">Flyers, photos and other ephemera from the ’90s in ‘Bay Area Then’ at YBCA document artist-run spaces and grassroots political movements. \u003ccite>(Nastia Voynovskaya for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums often examine protest movements of the past from a safe distance; rarely do they dare engage with what’s transgressive today. Refreshingly, \u003ci>Bay Area Then\u003c/i> features contemporary works from artists active since the ’90s, including Rigo 23, whose jaw-dropping \u003ci>Terra Nullius\u003c/i> is a centerpiece of the show. The mural depicts Palestinian civilians shouting through bullhorns while drones hover overhead. Juxtaposing San Francisco’s Sutro Tower with the West Bank wall — and self-driving cars with tanks — the piece forces the viewer to confront the reality of \u003ca href=\"https://www.kqed.org/news/11986136/demonstrators-rally-outside-google-conference-call-for-end-to-israel-contracts\">Bay Area tech giants’ military contracts\u003c/a>, which have helped create the infrastructure for Israel’s destruction of Gaza.\u003c/p>\n\u003cp>The inclusion of this piece and others marks a departure for YBCA, which changed leadership this year. In 2024, when \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">artists from an exhibition titled \u003ci>Bay Area Now\u003c/i> modified their own pieces\u003c/a> with messages like “Ceasefire Now,” the show closed down entirely for a month, prompting accusations of censorship. When the exhibition reopened, it contained tepid disclaimers stating that the work represented the opinions of the artists and not YBCA.\u003c/p>\n\u003cfigure id=\"attachment_13979706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2000x1152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-1536x885.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2048x1180.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen, ‘Main Drag’ (2001). \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bay Area Then\u003c/i>, the artists are given space to say things with their chests. A large-scale 2023 aerosol piece by graffiti artist \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie One\u003c/a> depicts seeds blossoming into raised fists of resistance on Palestinian soil; it hangs next to a 1997 work by the late graffiti legend \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a> that criticizes U.S. colonialism in the Philippines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not all the art in the show is explicitly political. A gem of \u003ci>Bay Area Then\u003c/i> is \u003ci>Main Drag\u003c/i>, the last major installation by Mission School icon Margaret Kilgallen, who passed away in 2001. Across two walls, Kilgallen remixes sign-painting techniques with stylized illustrations of working-class people going about their everyday lives.\u003c/p>\n\u003cp>It’s a loving approach, and one that’s felt throughout \u003ci>Bay Area Then\u003c/i>, as artists honor the extraordinary potential of everyday people to create a better world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://ybca.org/event/bay-area-then/\">Bay Area Then\u003c/a>’ is on view through Jan. 25, 2026, at Yerba Buena Center for the Arts (701 Mission St., San Francisco). The exhibition features Nao Bustamante, Carolyn Castaño, Bill Daniel, Sergio De La Torre and Chris Treggiari, Beatrix Fowler, Mike “Dream” Francisco, Johanna Jackson, Chris Johanson and Ajax Oakford, Arnold Kemp, Margaret Kilgallen, Josh Lazcano, Alicia McCarthy, Barry McGee, Ruby Neri, Manuel Ocampo, Eamon Ore-Giron, Gina Osterloh, Rigo 23, Spie One and others. \u003c/em>\u003c/p>\n\n",
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"excerpt": "In a new YBCA exhibit, Rigo 23, Margaret Kilgallen and Mike ‘Dream’ Francisco affirm the power of everyday people.",
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"title": "‘Bay Area Then’ Uplifts the Radical Artists of ’90s San Francisco | KQED",
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"headline": "‘Bay Area Then’ Uplifts the Radical Artists of ’90s San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg\" alt=\"four people stand in front of a mural depicting scenes from Gaza and San Francisco, including Palestinians using bullhorns, self-driving cars, journalists being trampled and a tall red and white tower\" width=\"2000\" height=\"1323\" class=\"size-full wp-image-13979732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23’s ‘Terra Nullius,’ which connects San Francisco’s tech industry to the destruction of Gaza, is a powerful highlight of ‘Bay Area Then,’ on view through Jan. 25, 2026 at YBCA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>’ new exhibition \u003ca href=\"https://ybca.org/event/bay-area-then/\">\u003ci>Bay Area Then\u003c/i> \u003c/a>offers a glimpse of San Francisco in the ’90s, before tech and its hyper-driven version of capitalism overtook the city, and when rents were low enough for artists to thrive. Working-class young people could not only afford to live here — they also had the time and energy to run weird, experimental galleries and participate in revolutionary organizing.\u003c/p>\n\u003cp>Smartly curated by Eungie Joo, \u003cem>Bay Area Then\u003c/em> surveys the vibrant cultures that emerged from the AIDS crisis, the LAPD beating of Rodney King and the first Gulf War, connecting the dots from each to today’s political struggles.\u003c/p>\n\u003cp>The show opens with clusters of ephemera: amateur film photos, graffiti zines and photocopied flyers. Whether protesting art censorship or advocating for squatting in abandoned properties, the flyers point to a hopeful radicalism that thrived in an age before ubiquitous AI and mass surveillance. These informal pieces — whose creators probably never thought they’d end up in a museum — lend \u003ci>Bay Area Then\u003c/i> a grassroots feel that’s rare for a white-walled, capital-A art institution.\u003c/p>\n\u003cfigure id=\"attachment_13979708\" class=\"wp-caption aligncenter\" style=\"max-width: 1976px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg\" alt=\"\" width=\"1976\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg 1976w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1581x2048.jpg 1581w\" sizes=\"auto, (max-width: 1976px) 100vw, 1976px\">\u003cfigcaption class=\"wp-caption-text\">Flyers, photos and other ephemera from the ’90s in ‘Bay Area Then’ at YBCA document artist-run spaces and grassroots political movements. \u003ccite>(Nastia Voynovskaya for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums often examine protest movements of the past from a safe distance; rarely do they dare engage with what’s transgressive today. Refreshingly, \u003ci>Bay Area Then\u003c/i> features contemporary works from artists active since the ’90s, including Rigo 23, whose jaw-dropping \u003ci>Terra Nullius\u003c/i> is a centerpiece of the show. The mural depicts Palestinian civilians shouting through bullhorns while drones hover overhead. Juxtaposing San Francisco’s Sutro Tower with the West Bank wall — and self-driving cars with tanks — the piece forces the viewer to confront the reality of \u003ca href=\"https://www.kqed.org/news/11986136/demonstrators-rally-outside-google-conference-call-for-end-to-israel-contracts\">Bay Area tech giants’ military contracts\u003c/a>, which have helped create the infrastructure for Israel’s destruction of Gaza.\u003c/p>\n\u003cp>The inclusion of this piece and others marks a departure for YBCA, which changed leadership this year. In 2024, when \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">artists from an exhibition titled \u003ci>Bay Area Now\u003c/i> modified their own pieces\u003c/a> with messages like “Ceasefire Now,” the show closed down entirely for a month, prompting accusations of censorship. When the exhibition reopened, it contained tepid disclaimers stating that the work represented the opinions of the artists and not YBCA.\u003c/p>\n\u003cfigure id=\"attachment_13979706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2000x1152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-1536x885.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2048x1180.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen, ‘Main Drag’ (2001). \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bay Area Then\u003c/i>, the artists are given space to say things with their chests. A large-scale 2023 aerosol piece by graffiti artist \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie One\u003c/a> depicts seeds blossoming into raised fists of resistance on Palestinian soil; it hangs next to a 1997 work by the late graffiti legend \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a> that criticizes U.S. colonialism in the Philippines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not all the art in the show is explicitly political. A gem of \u003ci>Bay Area Then\u003c/i> is \u003ci>Main Drag\u003c/i>, the last major installation by Mission School icon Margaret Kilgallen, who passed away in 2001. Across two walls, Kilgallen remixes sign-painting techniques with stylized illustrations of working-class people going about their everyday lives.\u003c/p>\n\u003cp>It’s a loving approach, and one that’s felt throughout \u003ci>Bay Area Then\u003c/i>, as artists honor the extraordinary potential of everyday people to create a better world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://ybca.org/event/bay-area-then/\">Bay Area Then\u003c/a>’ is on view through Jan. 25, 2026, at Yerba Buena Center for the Arts (701 Mission St., San Francisco). The exhibition features Nao Bustamante, Carolyn Castaño, Bill Daniel, Sergio De La Torre and Chris Treggiari, Beatrix Fowler, Mike “Dream” Francisco, Johanna Jackson, Chris Johanson and Ajax Oakford, Arnold Kemp, Margaret Kilgallen, Josh Lazcano, Alicia McCarthy, Barry McGee, Ruby Neri, Manuel Ocampo, Eamon Ore-Giron, Gina Osterloh, Rigo 23, Spie One and others. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ybca-makibaka-filipino-american-soma-pilipinas-review",
"title": "New Exhibit Honors Filipino American Resistance and Resilience in SoMa",
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"headTitle": "New Exhibit Honors Filipino American Resistance and Resilience in SoMa | KQED",
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"content": "\u003cfigure id=\"attachment_13979679\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13979679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cherisse Alcantara, ‘School Courtyard (Bessie Carmichael School FEC),’ 2025. The work is part of ‘MAKIBAKA: A Living Legacy,’ an exhibition on view through Jan. 4, 2026 at YBCA in San Francisco. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, the flame-bladed sword piercing the sun, the baybayin script on the wall and the bundles of sampaguita blossoms hanging from triangular banderitas across the ceiling are not merely festive decor, but markers of culture, memory and collective resistance.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>\u003c/em>, co-curated by SOMA Pilipinas and Trisha Lagaso Goldberg, features artwork by over 20 Bay Area Filipino American artists. The exhibition, Goldberg writes, “honors the generations who held their ground and made the city theirs — through protest, through art, through unrelenting care. … Filipino presence in San Francisco is not symbolic — it is structural, embodied, and alive.”\u003c/p>\n\u003cp>In English, the word makibaka translates to “to fight.” In the 1970s and ’80s, amid president Ferdinand Marcos’ dictatorship in the Philippines, protestors chanted in the streets of Manila: “Makibaka, huwag matakot!” Fight, don’t be afraid.\u003c/p>\n\u003cp>That phrase was a call to courage, action and collective power. Today, it echoes again, across oceans and generations. At YBCA, resistance to oppression and displacement appears in paint, prints, fabric, clay and archival memory.\u003c/p>\n\u003cp>Walking through \u003cem>MAKIBAKA\u003c/em>, installed in the second-floor galleries, feels like flipping a breathing scrapbook; the show is intimate, reflective and fiercely political. Works speak to individual experiences while grounding themselves in shared struggles. \u003c/p>\n\u003cfigure id=\"attachment_13979678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg\" alt=\"A grid of paper strips, covered in impressions of city street names from the sidewalk, lays on a concrete floor\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘The Blighted And Valuable Streets Of South Of Market,’ 2021. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885733/sometimes-it-takes-time-erina-alejo-the-third-generation-renter\">Erina Alejo\u003c/a>’s contribution to the show occupies that middle ground. In \u003cem>The Older I Get, The More I Remember\u003c/em>, the walls of a gallery corner are wrapped in dark chalk, layered with scrawled writing and neatly hung archival photographs by Alejo’s former middle school students. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My vision for [the piece] is my compulsion to ground our present and futures in community archives, kind of like equipping ourselves with a care toolkit,” Alejo wrote to KQED. “So we know how and where to look back to remember and for whom we are fighting for, especially when things get tough.”\u003c/p>\n\u003cp>The installation is a bit like looking at the open windows of an apartment building, a peek into other people’s lives. Many of the images feature youth in SoMa. These aren’t just snapshots of the past, they are affirmations of continued presence: We are still here. \u003c/p>\n\u003cp>[aside postID='arts_13885733']Established in 2016 as San Francisco’s Filipino Cultural Heritage District, \u003ca href=\"https://www.somapilipinas.org/\">SOMA Pilipinas\u003c/a> was created to celebrate and preserve Filipino culture in the neighborhood. Yerba Buena Gardens, a massive redevelopment project that began in the 1960s, displaced nearly 4,000 people, many of them Filipino.\u003c/p>\n\u003cp>With this history as a backdrop, \u003cem>MAKIBAKA\u003c/em> pays homage to the creative ecosystems that have long sustained Filipino American communities in San Francisco. Bindlestiff Studio, KulArts, Manilatown Heritage Foundation and other institutions appear along the exhibition’s timeline as living extensions of the makibaka spirit. These art spaces are community anchors where organizing, storytelling and healing continue to thrive.\u003c/p>\n\u003cp>Other pieces in the show draw on symbolism and materiality to showcase stories of movement and ancestry. \u003ca href=\"https://westonteruya.com/\">Weston Teruya\u003c/a>’s sculptural work \u003cem>Splintered on the Black River\u003c/em> is an ode to Kānāwai Māmalahoe, or the Hawaiian Law of the Splintered Paddle. The piece, a paddle constructed from tar paper, charred wood and salvaged materials, feels ceremonial. It is delicate yet resilient, held together by quiet intention.\u003c/p>\n\u003cfigure id=\"attachment_13979680\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg\" alt=\"\" width=\"1736\" height=\"2000\" class=\"size-full wp-image-13979680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-1333x1536.jpg 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘Gran Oriente Filipino,’ 2020. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the top of the lobby’s stairs, \u003ca href=\"https://cherissealcantara.com/home.html\">Cherisse Alcantara\u003c/a>’s paintings bring the focus back to place. Her paintings of parks and community spaces are eclectic and vibrant, depicting environments that shape daily life in SoMa. Alcantara honors the mundane and makes it beautiful, alive with bright color.\u003c/p>\n\u003cp>The show also takes viewers to the center of the movement. A standout installation by the \u003ca href=\"https://www.somcan.org/\">South of Market Community Action Network\u003c/a> (SOMCAN) features decades of protest signs, flyers and photographs from local organizing efforts. The messages remain startlingly urgent: “Stop Deportations,” “Housing is a Human Right,” “Keep Families Together.” These aren’t just artifacts of past struggle. They are reflections of battles still being fought today, just outside of YBCA’s walls.\u003c/p>\n\u003cp>Around the corner from this collection, in a striking blend of historical memory and pop aesthetics, \u003ca href=\"https://johannapoethig.com/\">Johanna Poethig\u003c/a> used movie-poster-style graphics to depict a manghihilot (healer) as a superhero, and displacement as worthy of Hollywood attention. Next to these images, \u003ca href=\"https://www.kimacebo.art/\">Kimberly Acebo Arteche\u003c/a>’s work honors the I-Hotel, spotlighting community elders and Manilatown’s legacy.\u003c/p>\n\u003cp>One of the most grounding works, a piece that offers a quiet yet powerful meditation on legacy, comes from \u003ca href=\"https://www.cristineblanco.com/\">Cristine Blanco\u003c/a>. In \u003cem>Embedded Bricks III\u003c/em>, she molds handmade bricks from clay, each one inscribed with words like “mother tongue,” “trust” and “future generations.” They feel sacred, like building the foundation of a home, brick by brick.\u003c/p>\n\u003cp>This is what \u003cem>MAKIBAKA\u003c/em> does so well: it shows us that art is not separate from struggle. Art can document resistance, but it can also \u003cem>be\u003c/em> resistance. The experience of creating art can heal wounds and connect generations. \u003c/p>\n\u003cp>\u003cem>MAKIBAKA\u003c/em> isn’t just about looking back. It’s about standing tall in the present, locking arms with those who came before and those who will come after. It’s about the power of showing up again and again. Through protest. Through art. Through community.\u003c/p>\n\u003cp>Because to exist — fully, loudly and unapologetically — is already an act of defiance. The movement continues. Brick by brick. Shoulder to shoulder. One step at a time. Makibaka, huwag matakot. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>’ is on view at Yerba Buena Center for the Arts through Jan. 4, 2026. As part of the \u003ca href=\"https://www.pistahan.net/\">32nd annual Pistahan Parade and Festival\u003c/a>, YBCA will offer free admission on Aug. 9 and 10.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At YBCA, the SOMA Pilipinas co-curated ‘MAKIBAKA: A Living Legacy‘ features artists and community groups.",
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"title": "‘Makibaka’ Honors Filipino American Resilience in SoMa | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979679\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13979679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cherisse Alcantara, ‘School Courtyard (Bessie Carmichael School FEC),’ 2025. The work is part of ‘MAKIBAKA: A Living Legacy,’ an exhibition on view through Jan. 4, 2026 at YBCA in San Francisco. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, the flame-bladed sword piercing the sun, the baybayin script on the wall and the bundles of sampaguita blossoms hanging from triangular banderitas across the ceiling are not merely festive decor, but markers of culture, memory and collective resistance.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>\u003c/em>, co-curated by SOMA Pilipinas and Trisha Lagaso Goldberg, features artwork by over 20 Bay Area Filipino American artists. The exhibition, Goldberg writes, “honors the generations who held their ground and made the city theirs — through protest, through art, through unrelenting care. … Filipino presence in San Francisco is not symbolic — it is structural, embodied, and alive.”\u003c/p>\n\u003cp>In English, the word makibaka translates to “to fight.” In the 1970s and ’80s, amid president Ferdinand Marcos’ dictatorship in the Philippines, protestors chanted in the streets of Manila: “Makibaka, huwag matakot!” Fight, don’t be afraid.\u003c/p>\n\u003cp>That phrase was a call to courage, action and collective power. Today, it echoes again, across oceans and generations. At YBCA, resistance to oppression and displacement appears in paint, prints, fabric, clay and archival memory.\u003c/p>\n\u003cp>Walking through \u003cem>MAKIBAKA\u003c/em>, installed in the second-floor galleries, feels like flipping a breathing scrapbook; the show is intimate, reflective and fiercely political. Works speak to individual experiences while grounding themselves in shared struggles. \u003c/p>\n\u003cfigure id=\"attachment_13979678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg\" alt=\"A grid of paper strips, covered in impressions of city street names from the sidewalk, lays on a concrete floor\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘The Blighted And Valuable Streets Of South Of Market,’ 2021. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885733/sometimes-it-takes-time-erina-alejo-the-third-generation-renter\">Erina Alejo\u003c/a>’s contribution to the show occupies that middle ground. In \u003cem>The Older I Get, The More I Remember\u003c/em>, the walls of a gallery corner are wrapped in dark chalk, layered with scrawled writing and neatly hung archival photographs by Alejo’s former middle school students. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My vision for [the piece] is my compulsion to ground our present and futures in community archives, kind of like equipping ourselves with a care toolkit,” Alejo wrote to KQED. “So we know how and where to look back to remember and for whom we are fighting for, especially when things get tough.”\u003c/p>\n\u003cp>The installation is a bit like looking at the open windows of an apartment building, a peek into other people’s lives. Many of the images feature youth in SoMa. These aren’t just snapshots of the past, they are affirmations of continued presence: We are still here. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Established in 2016 as San Francisco’s Filipino Cultural Heritage District, \u003ca href=\"https://www.somapilipinas.org/\">SOMA Pilipinas\u003c/a> was created to celebrate and preserve Filipino culture in the neighborhood. Yerba Buena Gardens, a massive redevelopment project that began in the 1960s, displaced nearly 4,000 people, many of them Filipino.\u003c/p>\n\u003cp>With this history as a backdrop, \u003cem>MAKIBAKA\u003c/em> pays homage to the creative ecosystems that have long sustained Filipino American communities in San Francisco. Bindlestiff Studio, KulArts, Manilatown Heritage Foundation and other institutions appear along the exhibition’s timeline as living extensions of the makibaka spirit. These art spaces are community anchors where organizing, storytelling and healing continue to thrive.\u003c/p>\n\u003cp>Other pieces in the show draw on symbolism and materiality to showcase stories of movement and ancestry. \u003ca href=\"https://westonteruya.com/\">Weston Teruya\u003c/a>’s sculptural work \u003cem>Splintered on the Black River\u003c/em> is an ode to Kānāwai Māmalahoe, or the Hawaiian Law of the Splintered Paddle. The piece, a paddle constructed from tar paper, charred wood and salvaged materials, feels ceremonial. It is delicate yet resilient, held together by quiet intention.\u003c/p>\n\u003cfigure id=\"attachment_13979680\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg\" alt=\"\" width=\"1736\" height=\"2000\" class=\"size-full wp-image-13979680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-1333x1536.jpg 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘Gran Oriente Filipino,’ 2020. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the top of the lobby’s stairs, \u003ca href=\"https://cherissealcantara.com/home.html\">Cherisse Alcantara\u003c/a>’s paintings bring the focus back to place. Her paintings of parks and community spaces are eclectic and vibrant, depicting environments that shape daily life in SoMa. Alcantara honors the mundane and makes it beautiful, alive with bright color.\u003c/p>\n\u003cp>The show also takes viewers to the center of the movement. A standout installation by the \u003ca href=\"https://www.somcan.org/\">South of Market Community Action Network\u003c/a> (SOMCAN) features decades of protest signs, flyers and photographs from local organizing efforts. The messages remain startlingly urgent: “Stop Deportations,” “Housing is a Human Right,” “Keep Families Together.” These aren’t just artifacts of past struggle. They are reflections of battles still being fought today, just outside of YBCA’s walls.\u003c/p>\n\u003cp>Around the corner from this collection, in a striking blend of historical memory and pop aesthetics, \u003ca href=\"https://johannapoethig.com/\">Johanna Poethig\u003c/a> used movie-poster-style graphics to depict a manghihilot (healer) as a superhero, and displacement as worthy of Hollywood attention. Next to these images, \u003ca href=\"https://www.kimacebo.art/\">Kimberly Acebo Arteche\u003c/a>’s work honors the I-Hotel, spotlighting community elders and Manilatown’s legacy.\u003c/p>\n\u003cp>One of the most grounding works, a piece that offers a quiet yet powerful meditation on legacy, comes from \u003ca href=\"https://www.cristineblanco.com/\">Cristine Blanco\u003c/a>. In \u003cem>Embedded Bricks III\u003c/em>, she molds handmade bricks from clay, each one inscribed with words like “mother tongue,” “trust” and “future generations.” They feel sacred, like building the foundation of a home, brick by brick.\u003c/p>\n\u003cp>This is what \u003cem>MAKIBAKA\u003c/em> does so well: it shows us that art is not separate from struggle. Art can document resistance, but it can also \u003cem>be\u003c/em> resistance. The experience of creating art can heal wounds and connect generations. \u003c/p>\n\u003cp>\u003cem>MAKIBAKA\u003c/em> isn’t just about looking back. It’s about standing tall in the present, locking arms with those who came before and those who will come after. It’s about the power of showing up again and again. Through protest. Through art. Through community.\u003c/p>\n\u003cp>Because to exist — fully, loudly and unapologetically — is already an act of defiance. The movement continues. Brick by brick. Shoulder to shoulder. One step at a time. Makibaka, huwag matakot. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>’ is on view at Yerba Buena Center for the Arts through Jan. 4, 2026. As part of the \u003ca href=\"https://www.pistahan.net/\">32nd annual Pistahan Parade and Festival\u003c/a>, YBCA will offer free admission on Aug. 9 and 10.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-harvey-milk-opera-reimagined-opera-parallele",
"title": "An Opera About Harvey Milk, Newly ‘Reimagined,’ Returns After 30 Years",
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"headTitle": "An Opera About Harvey Milk, Newly ‘Reimagined,’ Returns After 30 Years | KQED",
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"content": "\u003cp>Considering the nonstop inanities coming from Washington D.C., it was perhaps inevitable that over the course of its short two-week run, some news or other would elevate the opera \u003cem>Harvey Milk Reimagined\u003c/em>, now playing at YBCA, into the “relevant now more than ever” stratosphere.\u003c/p>\n\u003cp>As if on cue, less than a week after its opening, \u003ca href=\"https://www.kqed.org/news/12032883/the-inside-story-of-how-a-journalist-was-sent-white-house-war-plans\">technologically challenged\u003c/a> Defense Secretary Pete Hedgseth learned about the ship known as the \u003ca href=\"https://en.wikipedia.org/wiki/USNS_Harvey_Milk\">USNS Harvey Milk\u003c/a> and declared that the \u003ca href=\"https://www.kqed.org/news/12042566/shameful-bay-area-leaders-condemn-trumps-threat-to-rename-usns-harvey-milk\">very gay name of the naval ship should be changed\u003c/a>.\u003c/p>\n\u003cp>Is any of this all that important? Cleve Jones, an intern and friend of Milk, said that the gay rights icon would “\u003ca href=\"https://www.kqed.org/news/12042566/shameful-bay-area-leaders-condemn-trumps-threat-to-rename-usns-harvey-milk\">would shrug it off and laugh\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13976989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly (Harvey Milk) and ensemble in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet it underscores the obsessive fear that Milk — a brave, funny, smart and passionate crusader for gay rights — successfully placed into straight America. \u003cem>Harvey Milk Reimagined\u003c/em>, a shortened version of the 1996 opera \u003cem>Harvey Milk\u003c/em> now playing in a production by Opera Parallèle at YBCA in San Francisco, carries that daunting legacy on its shoulders. \u003c/p>\n\u003cp>I caught \u003cem>Harvey Milk Reimagined\u003c/em> on a Sunday matinee, and bumped into composer Stewart Wallace in the lobby beforehand. Watching the crowd reaction on opening night, he told me in the theater lobby, was a “surreal” experience. “There are different resonances now,” he said, comparing the two versions. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cowritten with librettist Michael Korie, \u003cem>Harvey Milk Reimagined\u003c/em> is a nuanced opera befitting a complicated life. Cut down from the original three acts to two, its restaging comes during a time of despair and precariousness, when Milk’s achievements are worth celebrating and his bridge-building strategy worth studying. \u003c/p>\n\u003cfigure id=\"attachment_13976990\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marnie Breckenridge (Dianne Feinstein), Matt Boehler (George Moscone), Christopher Oglesby (Dan White), Michael Kelly (Harvey Milk) and Jordan McCready (Dan White’s wife) in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across two hours and 20 minutes, Wallace and Korie succeed in the unenviable task of curating important details from Milk’s rich life: a boyhood awakening of getting cruised in the park, a Jewish heritage inspiring his exit from Wall Street to fight for gay rights. Forty minutes in, Milk moves to the promised land of San Francisco to figure out who exactly he wants to be, like so many others before him.\u003c/p>\n\u003cp>As Milk, Michael Kelly is skilled and convincing, although he lacks that contagious, wild-eyed giddiness so inherent to Milk’s personality. (If \u003cem>Mad Men\u003c/em> ever gets turned into an opera, he’s a shoo-in for Don Draper, though.) His pursuit of justice emanates from the stage in certain scenes, escalating alongside the rising tensions inside City Hall.\u003c/p>\n\u003cp>Wallace’s score is welcomingly modern-but-not-cumbersome, with copious portamentos and bent notes. (If this is meant to imply “not straight,” my hat is off.) Korie’s libretto, meanwhile, captures Milk’s humor and earnestness — and occasional discomfort. In an effective juxtaposition, Milk’s mother (Catherine Cook) recalls horrors of the holocaust, singing “they made our skin into lampshades,” while in a split scene, Milk indulges in his first late-night pleasures of the flesh. \u003c/p>\n\u003cfigure id=\"attachment_13976988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly (Harvey Milk) and Henry Benson (Scott Smith) and chorus in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The supporting cast includes the strong-voiced Henry Benson as Milk’s lover Scott Smith and Marnie Breckenridge as Dianne Feinstein; both play their parts perfectly. As Dan White, Christopher Oglesby is so good that one revels in the quandary of applauding for Milk’s assassin during his curtain call. \u003c/p>\n\u003cp>John Adams’ opera \u003cem>Nixon in China\u003c/em>, which caused waves prior to the original staging of \u003cem>Harvey Milk\u003c/em>, seems to have some influence in \u003cem>Harvey Milk Revisited\u003c/em>. Adams-like repetition applied to archival news reports (including from KQED) is deployed effectively, and a fantastic Matt Boehler as Mayor George Moscone has the formal demeanor of James Maddalena’s Nixon. \u003c/p>\n\u003cp>Especially striking is the transformation of Dan White from champion of the diminishing working class to what we know today as a standard-issue conservative grievance machine, resentful and enraged by those he believes are taking away his way of life. As he sings “Whose America is this?,” one can easily picture him on a Fox News broadcast in 2025.\u003c/p>\n\u003cfigure id=\"attachment_13976986\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13976986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Marnie Breckenridge (Diane Feinstein) and Christopher Oglesby (Dan White) in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>White’s frumpy brown suit is emblematic of the sharp costume choices by designer Alina Bokovikova. Meanwhile, choreographer Michael Mohammed delivers an electrifying reenactment of the Stonewall riot — a pivotal moment for Milk, who committed himself to the crusade for gay rights in its aftermath (and rallied the people of San Francisco after an incident of brutal gay bashing, chillingly depicted on stage, to join him).\u003c/p>\n\u003cp>We all know how the story ends. It is not easy to watch. But just as renaming a boat can’t erase Milk’s legacy, his assassination cannot and will not thwart his life’s work, retold in \u003ca href=\"https://en.wikipedia.org/wiki/Milk_(2008_American_film)\">movies\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/128579/california-films-the-times-of-harvey-milk\">documentaries\u003c/a>, \u003ca href=\"https://about.usps.com/news/national-releases/2014/pr14_033.htm\">postage stamps\u003c/a>, \u003ca href=\"https://www.sfomuseum.org/exhibitions/harvey-milk-messenger-hope\">airport terminals\u003c/a> and \u003ca href=\"https://www.tiktok.com/@theactivistarchive/video/7496846694101847327\">TikToks\u003c/a> to inspire generations to come. \u003cem>Harvey Milk Revisited\u003c/em> is a more than worthy addition. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Harvey Milk Revisited’ runs through Saturday, June 7, at YBCA in San Francisco. \u003ca href=\"https://operaparallele.org/harveymilk/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "‘Harvey Milk Reimagined’ offers a streamlined, inspiring depiction of the gay rights icon's incredible life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Considering the nonstop inanities coming from Washington D.C., it was perhaps inevitable that over the course of its short two-week run, some news or other would elevate the opera \u003cem>Harvey Milk Reimagined\u003c/em>, now playing at YBCA, into the “relevant now more than ever” stratosphere.\u003c/p>\n\u003cp>As if on cue, less than a week after its opening, \u003ca href=\"https://www.kqed.org/news/12032883/the-inside-story-of-how-a-journalist-was-sent-white-house-war-plans\">technologically challenged\u003c/a> Defense Secretary Pete Hedgseth learned about the ship known as the \u003ca href=\"https://en.wikipedia.org/wiki/USNS_Harvey_Milk\">USNS Harvey Milk\u003c/a> and declared that the \u003ca href=\"https://www.kqed.org/news/12042566/shameful-bay-area-leaders-condemn-trumps-threat-to-rename-usns-harvey-milk\">very gay name of the naval ship should be changed\u003c/a>.\u003c/p>\n\u003cp>Is any of this all that important? Cleve Jones, an intern and friend of Milk, said that the gay rights icon would “\u003ca href=\"https://www.kqed.org/news/12042566/shameful-bay-area-leaders-condemn-trumps-threat-to-rename-usns-harvey-milk\">would shrug it off and laugh\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13976989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2435.JPG-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly (Harvey Milk) and ensemble in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet it underscores the obsessive fear that Milk — a brave, funny, smart and passionate crusader for gay rights — successfully placed into straight America. \u003cem>Harvey Milk Reimagined\u003c/em>, a shortened version of the 1996 opera \u003cem>Harvey Milk\u003c/em> now playing in a production by Opera Parallèle at YBCA in San Francisco, carries that daunting legacy on its shoulders. \u003c/p>\n\u003cp>I caught \u003cem>Harvey Milk Reimagined\u003c/em> on a Sunday matinee, and bumped into composer Stewart Wallace in the lobby beforehand. Watching the crowd reaction on opening night, he told me in the theater lobby, was a “surreal” experience. “There are different resonances now,” he said, comparing the two versions. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cowritten with librettist Michael Korie, \u003cem>Harvey Milk Reimagined\u003c/em> is a nuanced opera befitting a complicated life. Cut down from the original three acts to two, its restaging comes during a time of despair and precariousness, when Milk’s achievements are worth celebrating and his bridge-building strategy worth studying. \u003c/p>\n\u003cfigure id=\"attachment_13976990\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2867.JPG-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marnie Breckenridge (Dianne Feinstein), Matt Boehler (George Moscone), Christopher Oglesby (Dan White), Michael Kelly (Harvey Milk) and Jordan McCready (Dan White’s wife) in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across two hours and 20 minutes, Wallace and Korie succeed in the unenviable task of curating important details from Milk’s rich life: a boyhood awakening of getting cruised in the park, a Jewish heritage inspiring his exit from Wall Street to fight for gay rights. Forty minutes in, Milk moves to the promised land of San Francisco to figure out who exactly he wants to be, like so many others before him.\u003c/p>\n\u003cp>As Milk, Michael Kelly is skilled and convincing, although he lacks that contagious, wild-eyed giddiness so inherent to Milk’s personality. (If \u003cem>Mad Men\u003c/em> ever gets turned into an opera, he’s a shoo-in for Don Draper, though.) His pursuit of justice emanates from the stage in certain scenes, escalating alongside the rising tensions inside City Hall.\u003c/p>\n\u003cp>Wallace’s score is welcomingly modern-but-not-cumbersome, with copious portamentos and bent notes. (If this is meant to imply “not straight,” my hat is off.) Korie’s libretto, meanwhile, captures Milk’s humor and earnestness — and occasional discomfort. In an effective juxtaposition, Milk’s mother (Catherine Cook) recalls horrors of the holocaust, singing “they made our skin into lampshades,” while in a split scene, Milk indulges in his first late-night pleasures of the flesh. \u003c/p>\n\u003cfigure id=\"attachment_13976988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A2230.JPG-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly (Harvey Milk) and Henry Benson (Scott Smith) and chorus in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The supporting cast includes the strong-voiced Henry Benson as Milk’s lover Scott Smith and Marnie Breckenridge as Dianne Feinstein; both play their parts perfectly. As Dan White, Christopher Oglesby is so good that one revels in the quandary of applauding for Milk’s assassin during his curtain call. \u003c/p>\n\u003cp>John Adams’ opera \u003cem>Nixon in China\u003c/em>, which caused waves prior to the original staging of \u003cem>Harvey Milk\u003c/em>, seems to have some influence in \u003cem>Harvey Milk Revisited\u003c/em>. Adams-like repetition applied to archival news reports (including from KQED) is deployed effectively, and a fantastic Matt Boehler as Mayor George Moscone has the formal demeanor of James Maddalena’s Nixon. \u003c/p>\n\u003cp>Especially striking is the transformation of Dan White from champion of the diminishing working class to what we know today as a standard-issue conservative grievance machine, resentful and enraged by those he believes are taking away his way of life. As he sings “Whose America is this?,” one can easily picture him on a Fox News broadcast in 2025.\u003c/p>\n\u003cfigure id=\"attachment_13976986\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13976986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A8256.JPG-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Marnie Breckenridge (Diane Feinstein) and Christopher Oglesby (Dan White) in Opera Parallèle’s production of ‘Harvey Milk Reimagined.’ \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>White’s frumpy brown suit is emblematic of the sharp costume choices by designer Alina Bokovikova. Meanwhile, choreographer Michael Mohammed delivers an electrifying reenactment of the Stonewall riot — a pivotal moment for Milk, who committed himself to the crusade for gay rights in its aftermath (and rallied the people of San Francisco after an incident of brutal gay bashing, chillingly depicted on stage, to join him).\u003c/p>\n\u003cp>We all know how the story ends. It is not easy to watch. But just as renaming a boat can’t erase Milk’s legacy, his assassination cannot and will not thwart his life’s work, retold in \u003ca href=\"https://en.wikipedia.org/wiki/Milk_(2008_American_film)\">movies\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/128579/california-films-the-times-of-harvey-milk\">documentaries\u003c/a>, \u003ca href=\"https://about.usps.com/news/national-releases/2014/pr14_033.htm\">postage stamps\u003c/a>, \u003ca href=\"https://www.sfomuseum.org/exhibitions/harvey-milk-messenger-hope\">airport terminals\u003c/a> and \u003ca href=\"https://www.tiktok.com/@theactivistarchive/video/7496846694101847327\">TikToks\u003c/a> to inspire generations to come. \u003cem>Harvey Milk Revisited\u003c/em> is a more than worthy addition. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Harvey Milk Revisited’ runs through Saturday, June 7, at YBCA in San Francisco. \u003ca href=\"https://operaparallele.org/harveymilk/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-classical-music-concerts-opera-bay-area-summer-2025",
"title": "8 Great Classical Music Experiences in the Bay Area This Summer",
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"headTitle": "8 Great Classical Music Experiences in the Bay Area This Summer | KQED",
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"content": "\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n",
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"title": "Your Guide to Classical Music in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ybca-new-ceo-mari-robles-headlands",
"title": "YBCA Announces a New CEO After a Year of Protests and Staff Departures",
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"headTitle": "YBCA Announces a New CEO After a Year of Protests and Staff Departures | KQED",
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"content": "\u003cp>\u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>, the multidisciplinary arts space in San Francisco’s Yerba Buena Gardens complex, today announced the appointment of Maricelle “Mari” Robles as its next CEO. Robles comes to YBCA from Headlands Center for the Arts, where she served as \u003ca href=\"https://www.kqed.org/arts/13889437/mari-robles-to-join-headlands-center-for-the-arts-as-new-executive-director\">executive director\u003c/a> for the past four years.\u003c/p>\n\u003cp>“YBCA has this amazing legacy of presenting experimental, cutting-edge, community-focused Bay Area artists and then having them in a larger global conversation about the arts and social justice,” Robles told KQED. “I’ll be looking to continue and build on that legacy.”\u003c/p>\n\u003cp>[aside tag='ybca' label='YBCA in the news']Robles arrives at the 31-year-old institution at a fraught time in its history. \u003c/p>\n\u003cp>Earlier this year, artists in its \u003ci>Bay Area Now 9\u003c/i> exhibition altered their own artwork in a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">pro-Palestinian action\u003c/a> on Feb. 15. YBCA, led at the time by interim CEO Sara Fenske Bahat, shut its doors following the event, \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">canceling scheduled programs\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">stayed closed for an entire month\u003c/a>. \u003c/p>\n\u003cp>While the altered artwork remained on view after reopening, the museum installed wall labels to explain that messages like “free Palestine” and “ceasefire now” represented the artists’ views, not YBCA’s. Fenske Bahat \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">resigned on March 3\u003c/a>, citing “vitriolic and antisemitic backlash” directed at her after the protest. (She has since been \u003ca href=\"https://www.kqed.org/news/12014714/san-francisco-mayor-elect-daniel-lurie-taps-openai-founder-transition-team\">hired to lead Mayor-elect Daniel Lurie’s transition team\u003c/a>.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least nine staff members left YBCA in the aftermath of the closure, and open letters from staff and artists accused the museum of censorship. A new interim CEO, \u003ca href=\"https://www.kqed.org/arts/13958007/ybca-new-interim-ceo-jim-rettew\">Jim Rettew\u003c/a>, was hired to lead the organization after Fenske Bahat’s departure.\u003c/p>\n\u003cp>The events received extensive coverage in both local and national news outlets as pro-Palestinian activists and artists called on institutions to address the war in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg\" alt='two people post with bags bearing text \"gaza must live\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenn Wong, left, and Michelle Fernandez, right, display their screen-printed items at Bay Area Artists Against Genocide’s (B.A.A.A.G.) screen-printing and film screening event outside of Yerba Buena Center for the Arts on Thursday, March 14, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a lot of growth for the organization, going through these very public steps and missteps,” Robles said of YBCA. “What I feel most committed to is making sure that we live our mission and making sure we create a space where artists, staff and board are free to feel safe and comfortable in their work environment.”\u003c/p>\n\u003cp>[aside postID='arts_13966903']At Headlands, Robles oversaw the creation of two new fellowship programs and brought in new funding sources, but her tenure was also marked by \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">layoffs and fundraising shortfalls\u003c/a>. Prior to that role, she held positions at The Metropolitan Museum of Art, the Pérez Art Museum Miami, the Museum of Contemporary Art Chicago and DreamYard Art Center in the Bronx.\u003c/p>\n\u003cp>YBCA, which shows an operating budget of around $18 million in recent tax filings, is a much larger organization than Headlands, which had an operating budget of $5.2 million in 2023. \u003c/p>\n\u003cp>Robles said some of her initial hiring priorities include a chief of programs, and rebuilding the institution’s artistic team, which will include positions in visual arts, performance and film. (YBCA \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">hasn’t had a full-time film curator\u003c/a> since 2018.) \u003c/p>\n\u003cp>“The city has a rich history of film programming and YBCA in particular was part of that,” Robles said. She credits her time at Headlands with introducing her to the Bay Area film community. \u003c/p>\n\u003cfigure id=\"attachment_13969410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13969410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">YBCA seen from Mission Street in San Francisco. \u003ccite>(Charlie Villyard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’ll officially start on Jan. 6, 2025, in time to help shape YBCA’s next strategic plan, which will guide the institution for the next five years. At the top of her list are partnerships with other local organizations like SOMA Pilipinas, the Filipino Cultural Heritage District, which regularly hosts events at YBCA, including parts of the upcoming \u003ca href=\"https://ybca.org/event/22nd-annual-parol-lantern-festival/\">Parol Lantern Festival\u003c/a> on Dec. 15. \u003c/p>\n\u003cp>YBCA will be under even more pressure to bring a sense of vibrancy to the immediate neighborhood in the coming year. The Contemporary Jewish Museum \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">will close to the public\u003c/a> on Dec. 15 in an attempt to reconfigure its expenses. The Museum of the African Diaspora will close March through September 2025 to upgrade its galleries. The Mexican Museum still \u003ca href=\"https://www.kqed.org/arts/13954980/san-francisco-mexican-museum-audit-reopening\">has yet to move into its planned home\u003c/a> across the street from YBCA.\u003c/p>\n\u003cp>Despite these challenges, Robles is ready to take the helm at a museum she says occupies “a unique place” in the local and global arts ecosystem.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in institutions,” she said, “And YBCA was founded in the early ’90s really with this thought of ‘What does a downtown revitalization effort focused on arts look like?’ And so that remains. I’m excited about picking up the baton.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>, the multidisciplinary arts space in San Francisco’s Yerba Buena Gardens complex, today announced the appointment of Maricelle “Mari” Robles as its next CEO. Robles comes to YBCA from Headlands Center for the Arts, where she served as \u003ca href=\"https://www.kqed.org/arts/13889437/mari-robles-to-join-headlands-center-for-the-arts-as-new-executive-director\">executive director\u003c/a> for the past four years.\u003c/p>\n\u003cp>“YBCA has this amazing legacy of presenting experimental, cutting-edge, community-focused Bay Area artists and then having them in a larger global conversation about the arts and social justice,” Robles told KQED. “I’ll be looking to continue and build on that legacy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robles arrives at the 31-year-old institution at a fraught time in its history. \u003c/p>\n\u003cp>Earlier this year, artists in its \u003ci>Bay Area Now 9\u003c/i> exhibition altered their own artwork in a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">pro-Palestinian action\u003c/a> on Feb. 15. YBCA, led at the time by interim CEO Sara Fenske Bahat, shut its doors following the event, \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">canceling scheduled programs\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">stayed closed for an entire month\u003c/a>. \u003c/p>\n\u003cp>While the altered artwork remained on view after reopening, the museum installed wall labels to explain that messages like “free Palestine” and “ceasefire now” represented the artists’ views, not YBCA’s. Fenske Bahat \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">resigned on March 3\u003c/a>, citing “vitriolic and antisemitic backlash” directed at her after the protest. (She has since been \u003ca href=\"https://www.kqed.org/news/12014714/san-francisco-mayor-elect-daniel-lurie-taps-openai-founder-transition-team\">hired to lead Mayor-elect Daniel Lurie’s transition team\u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least nine staff members left YBCA in the aftermath of the closure, and open letters from staff and artists accused the museum of censorship. A new interim CEO, \u003ca href=\"https://www.kqed.org/arts/13958007/ybca-new-interim-ceo-jim-rettew\">Jim Rettew\u003c/a>, was hired to lead the organization after Fenske Bahat’s departure.\u003c/p>\n\u003cp>The events received extensive coverage in both local and national news outlets as pro-Palestinian activists and artists called on institutions to address the war in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg\" alt='two people post with bags bearing text \"gaza must live\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenn Wong, left, and Michelle Fernandez, right, display their screen-printed items at Bay Area Artists Against Genocide’s (B.A.A.A.G.) screen-printing and film screening event outside of Yerba Buena Center for the Arts on Thursday, March 14, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a lot of growth for the organization, going through these very public steps and missteps,” Robles said of YBCA. “What I feel most committed to is making sure that we live our mission and making sure we create a space where artists, staff and board are free to feel safe and comfortable in their work environment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At Headlands, Robles oversaw the creation of two new fellowship programs and brought in new funding sources, but her tenure was also marked by \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">layoffs and fundraising shortfalls\u003c/a>. Prior to that role, she held positions at The Metropolitan Museum of Art, the Pérez Art Museum Miami, the Museum of Contemporary Art Chicago and DreamYard Art Center in the Bronx.\u003c/p>\n\u003cp>YBCA, which shows an operating budget of around $18 million in recent tax filings, is a much larger organization than Headlands, which had an operating budget of $5.2 million in 2023. \u003c/p>\n\u003cp>Robles said some of her initial hiring priorities include a chief of programs, and rebuilding the institution’s artistic team, which will include positions in visual arts, performance and film. (YBCA \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">hasn’t had a full-time film curator\u003c/a> since 2018.) \u003c/p>\n\u003cp>“The city has a rich history of film programming and YBCA in particular was part of that,” Robles said. She credits her time at Headlands with introducing her to the Bay Area film community. \u003c/p>\n\u003cfigure id=\"attachment_13969410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13969410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">YBCA seen from Mission Street in San Francisco. \u003ccite>(Charlie Villyard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’ll officially start on Jan. 6, 2025, in time to help shape YBCA’s next strategic plan, which will guide the institution for the next five years. At the top of her list are partnerships with other local organizations like SOMA Pilipinas, the Filipino Cultural Heritage District, which regularly hosts events at YBCA, including parts of the upcoming \u003ca href=\"https://ybca.org/event/22nd-annual-parol-lantern-festival/\">Parol Lantern Festival\u003c/a> on Dec. 15. \u003c/p>\n\u003cp>YBCA will be under even more pressure to bring a sense of vibrancy to the immediate neighborhood in the coming year. The Contemporary Jewish Museum \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">will close to the public\u003c/a> on Dec. 15 in an attempt to reconfigure its expenses. The Museum of the African Diaspora will close March through September 2025 to upgrade its galleries. The Mexican Museum still \u003ca href=\"https://www.kqed.org/arts/13954980/san-francisco-mexican-museum-audit-reopening\">has yet to move into its planned home\u003c/a> across the street from YBCA.\u003c/p>\n\u003cp>Despite these challenges, Robles is ready to take the helm at a museum she says occupies “a unique place” in the local and global arts ecosystem.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in institutions,” she said, “And YBCA was founded in the early ’90s really with this thought of ‘What does a downtown revitalization effort focused on arts look like?’ And so that remains. I’m excited about picking up the baton.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts",
"headTitle": "Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts | KQED",
"content": "\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>[aside postid='arts_13952460,arts_13953653']YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. [ad fullwidth]\u003c/p>\n\u003cp>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. [aside postid='arts_13955613']\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” [aside postid='arts_13956575']\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Experimental Animations Relocate from YBCA to Shapeshifters Cinema",
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"content": "\u003cp>Since October 2023, there’s been more activity than usual in Yerba Buena Center for the Arts’ screening room, where independent programmer Gina Basso (\u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\">formerly of SFMOMA\u003c/a>) has organized a rotating film series to accompany the museum’s regional survey \u003ci>Bay Area Now 9\u003c/i>. Partnerships with \u003ca href=\"https://www.sfcinematheque.org/\">SF Cinematheque\u003c/a>, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, \u003ca href=\"https://www.kearnystreet.org/\">Kearny Street Workshop\u003c/a> and \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a> have brought an exciting array of locally made, experimental, contemporary and historical films to a space that’s been underutilized since the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">sudden dismissal of YBCA’s entire film staff\u003c/a> in 2018.\u003c/p>\n\u003cp>Local film buffs had hoped this revival could become permanent, dreaming of regular film programming at YBCA even after the run of \u003ci>BAN 9\u003c/i>. \u003c/p>\n\u003cp>[aside postID='arts_13954119']But now the screening room sits quiet once again, with Leah Rosenberg’s newly commissioned work, \u003ci>\u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, cut short in the middle of a live performance on Feb. 15, the museum’s response to \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">eight \u003ci>BAN 9\u003c/i> artists altering their work\u003c/a> in a pro-Palestinian protest action. YBCA kept its doors shut for a solid month.\u003c/p>\n\u003cfigure id=\"attachment_13954389\" class=\"wp-caption aligncenter\" style=\"max-width: 859px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg\" alt=\"Purple and pink wavy lines behind a cartoonish person with hand over face\" width=\"859\" height=\"657\" class=\"size-full wp-image-13954389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg 859w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-768x587.jpg 768w\" sizes=\"(max-width: 859px) 100vw, 859px\">\u003cfigcaption class=\"wp-caption-text\">Yasmeen Abedifard, still from ‘Gharbzadegi,’ 2019. \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists from Basso’s March program — a slate of experimental and expanded animation works — now have no interest in showing at a reopened YBCA. Instead, \u003ci>\u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">This Room is Nothing Without You\u003c/a>\u003c/i>, featuring work by \u003ca href=\"https://meghanabisineer.com/\">Meghana Bisineer\u003c/a>, \u003ca href=\"https://www.lydiagreer.com/\">Lydia Greer\u003c/a>, \u003ca href=\"https://www.kathleenquillian.com/\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://www.jeremyrourke.com/\">Jeremy Rourke\u003c/a>, will take place at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a> on Saturday, March 23, along with short animations by Iranian American artist \u003ca href=\"https://www.yasmeenabedifard.net/\">Yasmeen Abedifard\u003c/a> and Palestinian artist \u003ca href=\"https://www.instagram.com/olabarakat00/?hl=en\">Ola Abdel Latif Barakat\u003c/a>.\u003c/p>\n\u003cp>“It became, how could we take this program that we worked hard on and we designed — how could we do something as a response not only to what YBCA did,” Basso says, “but how could we raise money and give it to Gaza?” (Proceeds from the night’s ticket sales will go towards humanitarian aid in Gaza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basso took a collaborative approach to much of the film programming for \u003ci>BAN 9\u003c/i>, but in this instance, the artists have created something else altogether. “They’ve really got this energy and excitement of working together,” Basso says. “In this iteration I’ve been very on the outer rings of this endeavor.” She and Kathleen Maguire, the former director of public and educational programs at YBCA, will be present on Saturday for a post-screening talk with the artists.\u003c/p>\n\u003cfigure id=\"attachment_13954390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg\" alt=\"Projected images of clocktower on scrim with person looking down on overhead projector behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Greer, from a live performance of ‘Robber Bridegroom.’ \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocation to Shapeshifters is one way unsurprising (Quillian is the programming director for the microcinema), but Basso would love for this trend to continue. She hopes to find the other programs — including Rosenberg’s half-seen commission — new homes as well. The film series was originally scheduled to run for the length of \u003ci>BAN 9\u003c/i>, through May 5.\u003c/p>\n\u003cp>How YBCA might now fill that screening room is an open question. The artists and filmmakers Basso was working with on future programming also no longer want to show at YBCA. “There’s trepidation for sure,” she says. “They wanted to stand in solidarity with the [\u003ci>BAN 9\u003c/i>] artists.” For Basso, working for YBCA on a hyper-local level, collaborating with Bay Area artists, distributors, programmers and archives, is just no longer possible. \u003c/p>\n\u003cp>“To lose the opportunity of that space and that place for film, \u003ci>again\u003c/i>,” she sighs, referencing the 2018 “haitus” of YBCA’s in-house program. “It was getting there and people were like, ‘Yay, it’s back!’”\u003c/p>\n\u003cp>But when our large local arts institutions flounder, it’s the artist-run spaces like Shapeshifters that match their mission statements with actions — and can provide space for the conversations that moments like these require.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Room is Nothing Without You’ screens at Shapeshifters Cinema (567 5th St., Oakland) on Saturday, March 23, 6–9 p.m. \u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since October 2023, there’s been more activity than usual in Yerba Buena Center for the Arts’ screening room, where independent programmer Gina Basso (\u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\">formerly of SFMOMA\u003c/a>) has organized a rotating film series to accompany the museum’s regional survey \u003ci>Bay Area Now 9\u003c/i>. Partnerships with \u003ca href=\"https://www.sfcinematheque.org/\">SF Cinematheque\u003c/a>, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, \u003ca href=\"https://www.kearnystreet.org/\">Kearny Street Workshop\u003c/a> and \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a> have brought an exciting array of locally made, experimental, contemporary and historical films to a space that’s been underutilized since the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">sudden dismissal of YBCA’s entire film staff\u003c/a> in 2018.\u003c/p>\n\u003cp>Local film buffs had hoped this revival could become permanent, dreaming of regular film programming at YBCA even after the run of \u003ci>BAN 9\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But now the screening room sits quiet once again, with Leah Rosenberg’s newly commissioned work, \u003ci>\u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, cut short in the middle of a live performance on Feb. 15, the museum’s response to \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">eight \u003ci>BAN 9\u003c/i> artists altering their work\u003c/a> in a pro-Palestinian protest action. YBCA kept its doors shut for a solid month.\u003c/p>\n\u003cfigure id=\"attachment_13954389\" class=\"wp-caption aligncenter\" style=\"max-width: 859px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg\" alt=\"Purple and pink wavy lines behind a cartoonish person with hand over face\" width=\"859\" height=\"657\" class=\"size-full wp-image-13954389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg 859w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-768x587.jpg 768w\" sizes=\"(max-width: 859px) 100vw, 859px\">\u003cfigcaption class=\"wp-caption-text\">Yasmeen Abedifard, still from ‘Gharbzadegi,’ 2019. \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists from Basso’s March program — a slate of experimental and expanded animation works — now have no interest in showing at a reopened YBCA. Instead, \u003ci>\u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">This Room is Nothing Without You\u003c/a>\u003c/i>, featuring work by \u003ca href=\"https://meghanabisineer.com/\">Meghana Bisineer\u003c/a>, \u003ca href=\"https://www.lydiagreer.com/\">Lydia Greer\u003c/a>, \u003ca href=\"https://www.kathleenquillian.com/\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://www.jeremyrourke.com/\">Jeremy Rourke\u003c/a>, will take place at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a> on Saturday, March 23, along with short animations by Iranian American artist \u003ca href=\"https://www.yasmeenabedifard.net/\">Yasmeen Abedifard\u003c/a> and Palestinian artist \u003ca href=\"https://www.instagram.com/olabarakat00/?hl=en\">Ola Abdel Latif Barakat\u003c/a>.\u003c/p>\n\u003cp>“It became, how could we take this program that we worked hard on and we designed — how could we do something as a response not only to what YBCA did,” Basso says, “but how could we raise money and give it to Gaza?” (Proceeds from the night’s ticket sales will go towards humanitarian aid in Gaza.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basso took a collaborative approach to much of the film programming for \u003ci>BAN 9\u003c/i>, but in this instance, the artists have created something else altogether. “They’ve really got this energy and excitement of working together,” Basso says. “In this iteration I’ve been very on the outer rings of this endeavor.” She and Kathleen Maguire, the former director of public and educational programs at YBCA, will be present on Saturday for a post-screening talk with the artists.\u003c/p>\n\u003cfigure id=\"attachment_13954390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg\" alt=\"Projected images of clocktower on scrim with person looking down on overhead projector behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Greer, from a live performance of ‘Robber Bridegroom.’ \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocation to Shapeshifters is one way unsurprising (Quillian is the programming director for the microcinema), but Basso would love for this trend to continue. She hopes to find the other programs — including Rosenberg’s half-seen commission — new homes as well. The film series was originally scheduled to run for the length of \u003ci>BAN 9\u003c/i>, through May 5.\u003c/p>\n\u003cp>How YBCA might now fill that screening room is an open question. The artists and filmmakers Basso was working with on future programming also no longer want to show at YBCA. “There’s trepidation for sure,” she says. “They wanted to stand in solidarity with the [\u003ci>BAN 9\u003c/i>] artists.” For Basso, working for YBCA on a hyper-local level, collaborating with Bay Area artists, distributors, programmers and archives, is just no longer possible. \u003c/p>\n\u003cp>“To lose the opportunity of that space and that place for film, \u003ci>again\u003c/i>,” she sighs, referencing the 2018 “haitus” of YBCA’s in-house program. “It was getting there and people were like, ‘Yay, it’s back!’”\u003c/p>\n\u003cp>But when our large local arts institutions flounder, it’s the artist-run spaces like Shapeshifters that match their mission statements with actions — and can provide space for the conversations that moments like these require.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Room is Nothing Without You’ screens at Shapeshifters Cinema (567 5th St., Oakland) on Saturday, March 23, 6–9 p.m. \u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation",
"headTitle": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation | KQED",
"content": "\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">closing its galleries\u003c/a> for a month, following a Feb. 15 protest where artists modified their own artworks with pro-Palestinian messages, \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts (YBCA)\u003c/a> made the \u003ca href=\"https://ybca.org/ban9-exhibition-reopening-announcement/\">unexpected announcement\u003c/a> Wednesday night that it will reopen its \u003ci>Bay Area Now 9\u003c/i> exhibition with the altered artworks intact — accompanied by disclaimers that they represent the artists’ views, not YBCA’s — starting Friday, March 15. [aside label='More YBCA Coverage' postid='arts_13953653,arts_13953032,arts_13952460']\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/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\">[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">closing its galleries\u003c/a> for a month, following a Feb. 15 protest where artists modified their own artworks with pro-Palestinian messages, \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts (YBCA)\u003c/a> made the \u003ca href=\"https://ybca.org/ban9-exhibition-reopening-announcement/\">unexpected announcement\u003c/a> Wednesday night that it will reopen its \u003ci>Bay Area Now 9\u003c/i> exhibition with the altered artworks intact — accompanied by disclaimers that they represent the artists’ views, not YBCA’s — starting Friday, March 15. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/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>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "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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"perspectives": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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