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If we help the arts recover, the arts will help San Francisco recover,” said Breed in a statement. “This new program is an innovative effort to help our creative sector get through this challenging time, and come back even stronger and more resilient than before.”\u003c/p>\n\u003cp>[aside postID='arts_13890207']130 artists will be selected for the pilot, which city officials say is the first of its kind to launch in the U.S. The city of Long Beach and the St. Paul, Minnesota nonprofit Springboard for the Arts also have guaranteed income programs for artists currently under development.\u003c/p>\n\u003cp>The YBCA-run program for artists is one of several financial relief pilots underway in the Bay Area. San Francisco’s \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Abundant Birth Project\u003c/a> will provide monthly income supplements for Black and Pacific Islander expectant mothers, and part of the $120 million \u003ca href=\"https://sf-hrc.org/sites/default/files/02.25.21%20Dream%20Keeper%20Initiative.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Dream Keeper Initiative\u003c/a> allocates $7 million towards guaranteed income to members of the city’s Black and African-American community. Just this week, Oakland and Marin County announced their own \u003ca href=\"https://www.kqed.org/news/11866002/following-stocktons-lead-guaranteed-income-programs-to-launch-in-oakland-and-marin-county\" target=\"_blank\" rel=\"noopener noreferrer\">guaranteed income programs\u003c/a> for low-income residents of color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Applicants for the artists’ Guaranteed Income Pilot must meet certain eligibility criteria. They must be 18 or older, have an artistic practice “rooted in a historically marginalized community,” be a resident in one of 13 San Francisco zip codes “determined by the city of San Francisco’s data on areas hardest hit by the COVID-19 pandemic,” and not exceed a specified income threshold.\u003c/p>\n\u003cp>Eligible artists will be selected at random for participation in the pilot after applications close on April 15. “We want to make the process as easy as possible,” said YBCA CEO Deborah Cullinan in a phone interview with KQED. Chosen artists can expect to receive their first payments on May 21.\u003c/p>\n\u003cp>Cullinan said that the pilot should be thought of as a form of “rapid prototyping”—one small step in helping the city of San Francisco think through how it can provide more stability for its creative community.\u003c/p>\n\u003cp>“Guaranteed income is something we’ve been interested in for a long time,” said Cullinan. “What does it mean to provide economic security not only for artists and their families, but also for the community as a whole? What happens as a result of it? We want to learn from the pilot and leverage the proof towards a longer-term project.”\u003c/p>\n\u003cp>Cullinan said successful applicants will not be required to do anything in return for the money. But she is hoping many of them will volunteer to complete periodic surveys to help YBCA and San Francisco learn how steady monthly payments can impact their lives. “You can’t demand things of people, but we do need data,” she said.\u003c/p>\n\u003cp>[aside postID='news_11866002']Guaranteed income programs have been a subject of intense debate in recent years. \u003ca href=\"https://www.npr.org/2021/03/04/973653719/california-program-giving-500-no-strings-attached-stipends-pays-off-study-finds\" target=\"_blank\" rel=\"noopener noreferrer\">Advocates\u003c/a> tout the positive outcomes of the recent experiment conducted in Stockton, while \u003ca href=\"https://reason.com/2020/10/13/san-francisco-will-pay-artists-1000-a-month-in-universal-basic-income/\" target=\"_blank\" rel=\"noopener noreferrer\">critics\u003c/a> say these programs are just a fancy way of giving grants to special interest groups.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco comedian \u003ca href=\"https://www.kqed.org/arts/11484833/women-to-watch-dhaya-lakshminarayanan\" target=\"_blank\" rel=\"noopener noreferrer\">Dhaya Lakshminarayanan\u003c/a> said even though $1,000 doesn’t go a long way in San Francisco, every little bit helps for artists like her who lost their entire livelihoods when performance spaces shut down last spring.\u003c/p>\n\u003cp>“It seems like it’s really done in a respectful way to give artists this small boost,” Lakshminarayanan said.\u003c/p>\n\u003cp>But the comedian said some artists are wary of taking these kinds of handouts because it might affect their ability to claim other important benefits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are trying to just scrape together money from everywhere. So if you’re collecting unemployment or if you’re on Medicaid and your income is above a certain amount, you might get kicked out of Medicaid or increase your tax burden,” she said. “So I would love some coordination among all of the different things like unemployment, Medicaid, food stamps, and so on, to be able to put people at ease that if you take this money, it’s not going to screw you in these other categories.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Guaranteed income programs have been a subject of intense debate in recent years. \u003ca href=\"https://www.npr.org/2021/03/04/973653719/california-program-giving-500-no-strings-attached-stipends-pays-off-study-finds\" target=\"_blank\" rel=\"noopener noreferrer\">Advocates\u003c/a> tout the positive outcomes of the recent experiment conducted in Stockton, while \u003ca href=\"https://reason.com/2020/10/13/san-francisco-will-pay-artists-1000-a-month-in-universal-basic-income/\" target=\"_blank\" rel=\"noopener noreferrer\">critics\u003c/a> say these programs are just a fancy way of giving grants to special interest groups.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco comedian \u003ca href=\"https://www.kqed.org/arts/11484833/women-to-watch-dhaya-lakshminarayanan\" target=\"_blank\" rel=\"noopener noreferrer\">Dhaya Lakshminarayanan\u003c/a> said even though $1,000 doesn’t go a long way in San Francisco, every little bit helps for artists like her who lost their entire livelihoods when performance spaces shut down last spring.\u003c/p>\n\u003cp>“It seems like it’s really done in a respectful way to give artists this small boost,” Lakshminarayanan said.\u003c/p>\n\u003cp>But the comedian said some artists are wary of taking these kinds of handouts because it might affect their ability to claim other important benefits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are trying to just scrape together money from everywhere. So if you’re collecting unemployment or if you’re on Medicaid and your income is above a certain amount, you might get kicked out of Medicaid or increase your tax burden,” she said. “So I would love some coordination among all of the different things like unemployment, Medicaid, food stamps, and so on, to be able to put people at ease that if you take this money, it’s not going to screw you in these other categories.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The local news of the week, Entertainment Division, is that the multi-talented Boots Riley (\u003cem>Sorry to Bother You\u003c/em>) is making a half-hour, Oakland-set series for Amazon with Jharrel Jerome playing a 13-foot man-child. Riley previously described \u003ci>I’m A Virgo\u003c/i> as “dark, absurd, hilarious and important,” which jibes with the writer-director’s latest statement: “This show will either have me lauded or banned, and as such, I have demanded payment up front.”\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco\u003c/strong>\u003cbr />\nDec. 16\u003cbr />\n\u003ca href=\"https://www.eventbrite.com/e/lost-landscapes-of-san-francisco-02020-film-premiere-registration-128534984599\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>Cities exist in a swirl of evolution and entropy, but San Francisco’s rate of change quickened dramatically in 2020 with the death-by-pandemic of countless restaurants and small businesses. So the aura of nostalgia that envelops Rick Prelinger’s annual compendium of 20th-century amateur films (i.e., home movies) and archival artifacts will be particularly pronounced this year. \u003c/p>\n\u003cp>Much of the fun of Lost Landscapes is hearing people yell out names and locations as places zip by in Prelinger’s seductive montage. A live chat will have to suffice instead, in this 5pm streaming presentation, with the advantage that you’ll be able to make out what everyone is yelling (that is, typing). Just don’t be surprised if the castles in the celluloid exert a stronger-than-usual emotional pull. The screening is free, though the Prelinger Library welcomes donations.\u003c/p>\n\u003cfigure id=\"attachment_13890509\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Bayview Live, held Oct. 17, 2020 by SF Urban Film Fest. \u003ccite>(Lucas Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Bayview is Alive\u003c/em>\u003c/strong>\u003cbr />\nDec. 17\u003cbr />\n\u003ca href=\"https://ybca.org/event/bayview-is-alive-film-screening-panel/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a> (online)\u003c/p>\n\u003cp>Bayview has as rich a history as any district in San Francisco, though much of it has been forgotten or erased. Important bits and pieces of that history are preserved and depicted in the murals that dot the neighborhood. And now, Susie Smith has documented four of those murals in individual short films that movingly convey the lives of everyday people.\u003c/p>\n\u003cp>These essential portraits—which should be seen by every San Franciscan—screen under the auspices of YBCA artists in residence SF Urban Film Fest, along with Shantré Pinkney’s new, immersive short filmed at a summer community event in Bayview. Then stay tuned (streamed?) for a conversation among community leaders—some of whom appear in the films—about Bayview’s past and present contributions to the fabric of San Francisco. In addition, the YBCA website features a link to the short documentary \u003cem>Point of Pride: The People’s View of Bayview/Hunter’s Point\u003c/em> (2014).\u003c/p>\n\u003cfigure id=\"attachment_13890511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13890511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Still from from tamara suarez porras’ ‘within a great silence,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>covalences: works from black hole collective film lab\u003c/em>\u003c/strong>\u003cbr />\nThrough Jan. 10, 2021\u003cbr />\n\u003ca href=\"http://www.sfcinematheque.org/video-programs/covalences-works-from-black-hole-collective-film-lab/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Cinematheque\u003c/a> (online)\u003c/p>\n\u003cp>If I asked you to name the biggest champions of shooting movies on film in the digital age, you’d likely cite megalomaniac multimillionaires Christopher Nolan and Quentin Tarantino. They are the loudest, certainly, but I’m more impressed with the work of a dogged confederation of avant-garde filmmakers based in West Oakland and known as the Black Hole Collective Film Lab.\u003c/p>\n\u003cp>\u003cem>covalences\u003c/em>, a collection of experimental shorts by Alix Blevins, Anna Geyer and many others curated by BHCFL and streaming on the SF Cinematheque website, confronts us with flashes and flurries of tactile, shuddering images intended to provoke and unsettle. For those of adventurous spirit, the last sentence of the artists’ statement is irresistible: “On the one hand, this program represents to us a memorial for pre-pandemic life and on the other, an act of radical self-determination: onward movement into the fiery flames of the future.”\u003c/p>\n\u003cfigure id=\"attachment_13890507\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg\" alt=\"\" width=\"650\" height=\"420\" class=\"size-full wp-image-13890507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0-160x103.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Wong Kar Wai’s ‘As Tears Go By,’ 1988. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wong Kar Wai\u003c/strong>\u003cbr />\nOngoing\u003cbr />\n\u003ca href=\"https://bampfa.org/watch-from-home/existence-longing-wong-kar-wai\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and \u003ca href=\"https://www.roxie.com/world-of-wong-kar-wai/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> \u003c/p>\n\u003cp>Born in Shanghai and raised in Hong Kong, Wong Kar Wai exploded on the international scene in 1988 with \u003cem>As Tears Go By\u003c/em>, a gritty gangster film suffused with unusual beauty and sensitivity. Genre filmmaking may have been WKW’s point of entry, but his métier was stylized, deeply felt melodramas full of gorgeous compositions, luscious clothes and beautiful stars like Maggie Cheung and Tony Leung.\u003c/p>\n\u003cp>From \u003cem>Days of Being Wild\u003c/em> (1990) to \u003cem>In the Mood For Love\u003c/em> (2000), WKW was \u003cem>the\u003c/em> filmmaker of the 1990s. A touring retrospective in tandem with new high-definition restorations of his wondrous films was one of the year’s most anticipated events until the pandemic pushed it online. Take a big dip into his oeuvre via the Roxie’s \u003cem>World of Wong Kar Wai\u003c/em> or BAMPFA’s \u003cem>Existence is Longing: Wong Kar Wai\u003c/em> (through Feb. 28, 2021), and your holiday romance won’t be the same.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The local news of the week, Entertainment Division, is that the multi-talented Boots Riley (\u003cem>Sorry to Bother You\u003c/em>) is making a half-hour, Oakland-set series for Amazon with Jharrel Jerome playing a 13-foot man-child. Riley previously described \u003ci>I’m A Virgo\u003c/i> as “dark, absurd, hilarious and important,” which jibes with the writer-director’s latest statement: “This show will either have me lauded or banned, and as such, I have demanded payment up front.”\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco\u003c/strong>\u003cbr />\nDec. 16\u003cbr />\n\u003ca href=\"https://www.eventbrite.com/e/lost-landscapes-of-san-francisco-02020-film-premiere-registration-128534984599\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>Cities exist in a swirl of evolution and entropy, but San Francisco’s rate of change quickened dramatically in 2020 with the death-by-pandemic of countless restaurants and small businesses. So the aura of nostalgia that envelops Rick Prelinger’s annual compendium of 20th-century amateur films (i.e., home movies) and archival artifacts will be particularly pronounced this year. \u003c/p>\n\u003cp>Much of the fun of Lost Landscapes is hearing people yell out names and locations as places zip by in Prelinger’s seductive montage. A live chat will have to suffice instead, in this 5pm streaming presentation, with the advantage that you’ll be able to make out what everyone is yelling (that is, typing). Just don’t be surprised if the castles in the celluloid exert a stronger-than-usual emotional pull. The screening is free, though the Prelinger Library welcomes donations.\u003c/p>\n\u003cfigure id=\"attachment_13890509\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Bayview Live, held Oct. 17, 2020 by SF Urban Film Fest. \u003ccite>(Lucas Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Bayview is Alive\u003c/em>\u003c/strong>\u003cbr />\nDec. 17\u003cbr />\n\u003ca href=\"https://ybca.org/event/bayview-is-alive-film-screening-panel/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a> (online)\u003c/p>\n\u003cp>Bayview has as rich a history as any district in San Francisco, though much of it has been forgotten or erased. Important bits and pieces of that history are preserved and depicted in the murals that dot the neighborhood. And now, Susie Smith has documented four of those murals in individual short films that movingly convey the lives of everyday people.\u003c/p>\n\u003cp>These essential portraits—which should be seen by every San Franciscan—screen under the auspices of YBCA artists in residence SF Urban Film Fest, along with Shantré Pinkney’s new, immersive short filmed at a summer community event in Bayview. Then stay tuned (streamed?) for a conversation among community leaders—some of whom appear in the films—about Bayview’s past and present contributions to the fabric of San Francisco. In addition, the YBCA website features a link to the short documentary \u003cem>Point of Pride: The People’s View of Bayview/Hunter’s Point\u003c/em> (2014).\u003c/p>\n\u003cfigure id=\"attachment_13890511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13890511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Still from from tamara suarez porras’ ‘within a great silence,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>covalences: works from black hole collective film lab\u003c/em>\u003c/strong>\u003cbr />\nThrough Jan. 10, 2021\u003cbr />\n\u003ca href=\"http://www.sfcinematheque.org/video-programs/covalences-works-from-black-hole-collective-film-lab/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Cinematheque\u003c/a> (online)\u003c/p>\n\u003cp>If I asked you to name the biggest champions of shooting movies on film in the digital age, you’d likely cite megalomaniac multimillionaires Christopher Nolan and Quentin Tarantino. They are the loudest, certainly, but I’m more impressed with the work of a dogged confederation of avant-garde filmmakers based in West Oakland and known as the Black Hole Collective Film Lab.\u003c/p>\n\u003cp>\u003cem>covalences\u003c/em>, a collection of experimental shorts by Alix Blevins, Anna Geyer and many others curated by BHCFL and streaming on the SF Cinematheque website, confronts us with flashes and flurries of tactile, shuddering images intended to provoke and unsettle. For those of adventurous spirit, the last sentence of the artists’ statement is irresistible: “On the one hand, this program represents to us a memorial for pre-pandemic life and on the other, an act of radical self-determination: onward movement into the fiery flames of the future.”\u003c/p>\n\u003cfigure id=\"attachment_13890507\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg\" alt=\"\" width=\"650\" height=\"420\" class=\"size-full wp-image-13890507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0-160x103.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Wong Kar Wai’s ‘As Tears Go By,’ 1988. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wong Kar Wai\u003c/strong>\u003cbr />\nOngoing\u003cbr />\n\u003ca href=\"https://bampfa.org/watch-from-home/existence-longing-wong-kar-wai\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and \u003ca href=\"https://www.roxie.com/world-of-wong-kar-wai/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> \u003c/p>\n\u003cp>Born in Shanghai and raised in Hong Kong, Wong Kar Wai exploded on the international scene in 1988 with \u003cem>As Tears Go By\u003c/em>, a gritty gangster film suffused with unusual beauty and sensitivity. Genre filmmaking may have been WKW’s point of entry, but his métier was stylized, deeply felt melodramas full of gorgeous compositions, luscious clothes and beautiful stars like Maggie Cheung and Tony Leung.\u003c/p>\n\u003cp>From \u003cem>Days of Being Wild\u003c/em> (1990) to \u003cem>In the Mood For Love\u003c/em> (2000), WKW was \u003cem>the\u003c/em> filmmaker of the 1990s. A touring retrospective in tandem with new high-definition restorations of his wondrous films was one of the year’s most anticipated events until the pandemic pushed it online. Take a big dip into his oeuvre via the Roxie’s \u003cem>World of Wong Kar Wai\u003c/em> or BAMPFA’s \u003cem>Existence is Longing: Wong Kar Wai\u003c/em> (through Feb. 28, 2021), and your holiday romance won’t be the same.\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "it-shouldnt-take-an-emergency-to-fund-artists-basic-needs",
"title": "It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs",
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"content": "\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13890093,arts_13890048,arts_13890054' label='What a year'] “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"auto, (max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>[aside postID='arts_13876893']In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>[pullquote size='medium' citation='Laura Poppiti, Center for Cultural Innovation']‘Philanthropy has rewarded arts nonprofits for underpaying their employees.’[/pullquote]Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>[pullquote size='medium' align='right']The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.[/pullquote]“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='John Elliott, San Francisco musician']‘There needs to be some restoration of the safety net with no questions asked.’[/pullquote]YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"auto, (max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At YBCA, Art is a Powerful Tool for Envisioning a Less Complacent Future",
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"content": "\u003cp>These are unprecedented times. At least it seems like everyone is saying so, but is it true? There’s the global pandemic, attacks on democracy by political leaders, racist violence by police, environmental destruction, and so much more. But which of these is unprecedented? Potawatomi philosopher Kyle Powys Whyte uses the term “ancestral dystopia” when \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/2514848618777621?journalCode=enea\" target=\"_blank\" rel=\"noopener noreferrer\">writing\u003c/a> about how our current world would be a dystopia to the ancestors of Indigenous people.\u003c/p>\n\u003cp>[aside postID='arts_13888590']That is to say, the crises are ongoing rather than novel to our times. This perspective is central to \u003ca href=\"https://ybca.org/event/after-life-we-survive/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>AFTER LIFE (we survive)\u003c/i>\u003c/a>, a multimedia group exhibition at the Yerba Buena Center for the Arts (also offered as an online exhibition), which centers Black, brown, Indigenous, queer and trans artists from communities that have been among the most affected by the precedents to what is now being called unprecedented.\u003c/p>\n\u003cp>Courtney Desiree Morris’ 2019 series of photographs titled \u003ca href=\"https://ybca.org/after-life-courtney-desiree-morris/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Solastalgia\u003c/i>\u003c/a> draws on a \u003ca href=\"https://www.nytimes.com/2010/01/31/magazine/31ecopsych-t.html\" target=\"_blank\" rel=\"noopener noreferrer\">concept of the same name\u003c/a> from environmental philosopher Glenn Albrecht. It describes a distress caused by environmental change—or “a form of homesickness one gets when one is still at ‘home.’” Morris’s series (some photographs are only available through the online exhibition) evinces this sense of loss in Mossville, Louisiana, a town her maternal family has lived in for more than 150 years. The predominantly African American community has been ravaged by pollution, exceptionally high levels of toxins in residents’ bodies, and severe health issues as a result of nearby chemical plants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of Morris’ photographs resemble the kind often seen in representations of rural towns suffering under capitalism. One pictures an apparently abandoned pink pastel clapboard house with peeling paint, another documents a residential land plot with only a concrete driveway, foundation and stairs remaining. To be sure, these evoke a sense of nostalgia and loss, but these feelings are complicated by photographs of the town’s residents.\u003c/p>\n\u003cp>In one photograph, a large group of older adults gathers at what appears to be a high school reunion. The exact mood of the moment is unclear, but there is nonetheless a celebratory or convivial air about the event. Mossville is no ghost town. But what to make of this photograph in light of the violence residents face? Is this a portrait of survival or a portrait of individuals experiencing loss and environmental racism? Maybe it is both, and in that sense, it is a reminder that crises that may feel to some like science fiction are the everyday realities for much of the world.\u003c/p>\n\u003cfigure id=\"attachment_13889389\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/sin-sol-beta-still-1.png\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13889389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-768x576.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">micha cárdenas, Still from ‘Sin Sol / No Sun,’ 2020. \u003ccite>(Courtesy the artist and YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ybca.org/after-life-micha-cardenas/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Sin Sol / No Sun\u003c/i>\u003c/a> (2020), an augmented reality experience by micha cárdenas, takes another approach to the idea of precedent by showing that the history of future disasters is now. In the iPhone game, which overlays computer graphics over one’s surroundings, Aura, a trans latinx AI hologram, tells of a past climate collapse that is in fact our own present. Aura speaks to players in terms that may feel like science fiction and fact at the same time, such as, “When I walked into the living room of my pod, the orange light shining through the blinds told me the smoke was back.”\u003c/p>\n\u003cp>This familiar language draws a connection between Aura’s time and our own. And if we are the precursor to the destruction of Aura’s time, we should be able to see in history the precursors to the crises of our own time. \u003ci>Sin Sol / No Sun\u003c/i> resists the idea, present even during times of crises, that the future is bound to be bright—that history is on a march toward justice, that we just need to have faith and be patient.\u003c/p>\n\u003cp>But if Morris’ photographs show how the crises of the day are nothing new, and if cárdenas’ piece cautions against overly optimistic visions of the future, these artworks do not emphasize despair or a sense of futility. Art can be a powerful tool for visioning the future, a power that does not seem lost on the artists of \u003ci>AFTER LIFE (we survive)\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13889390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/CIP_2-800x623.jpg\" alt=\"\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-1020x795.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coven Intelligence Program, ‘One two three potions a secret word / and soon you’ll see a freer world,’ 2020, installation view of ‘AFTER LIFE (we survive),’ YBCA, 2020. \u003ccite>(Courtesy YBCA; Photo by Thea Quiray Tagle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zulfikar Ali Bhutto’s kaleidoscopic animated short film \u003ca href=\"https://ybca.org/after-life-zulfikar-ali-bhutto/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Grace and Mercy 556\u003c/i>\u003c/a>, for example, envisages a future revolution that draws on queer futurism, Islam and the occult. Likewise, the group \u003ca href=\"https://ybca.org/after-life-coven-intelligence-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Coven Intelligence Program\u003c/a>, which describes itself as a techno-botanical coven, imagines the revolutionary potential of engagement between plants and machines. The group’s SpellWeaver app (only available through the online version of the exhibition), allows users to create and invoke their own spells, which are converted into cryptic weaving patterns. When one invokes a spell, they are also being called on to invoke a future of their making. These may be unorthodox calls to action, but they can be invigorating and inspiring, and they can help resist complacency and complicity.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘AFTER LIFE (we survive)’ is on view in YBCA’s windows and online through Jan. 24, 2021. \u003ca href=\"https://ybca.org/event/after-life-we-survive/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These are unprecedented times. At least it seems like everyone is saying so, but is it true? There’s the global pandemic, attacks on democracy by political leaders, racist violence by police, environmental destruction, and so much more. But which of these is unprecedented? Potawatomi philosopher Kyle Powys Whyte uses the term “ancestral dystopia” when \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/2514848618777621?journalCode=enea\" target=\"_blank\" rel=\"noopener noreferrer\">writing\u003c/a> about how our current world would be a dystopia to the ancestors of Indigenous people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That is to say, the crises are ongoing rather than novel to our times. This perspective is central to \u003ca href=\"https://ybca.org/event/after-life-we-survive/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>AFTER LIFE (we survive)\u003c/i>\u003c/a>, a multimedia group exhibition at the Yerba Buena Center for the Arts (also offered as an online exhibition), which centers Black, brown, Indigenous, queer and trans artists from communities that have been among the most affected by the precedents to what is now being called unprecedented.\u003c/p>\n\u003cp>Courtney Desiree Morris’ 2019 series of photographs titled \u003ca href=\"https://ybca.org/after-life-courtney-desiree-morris/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Solastalgia\u003c/i>\u003c/a> draws on a \u003ca href=\"https://www.nytimes.com/2010/01/31/magazine/31ecopsych-t.html\" target=\"_blank\" rel=\"noopener noreferrer\">concept of the same name\u003c/a> from environmental philosopher Glenn Albrecht. It describes a distress caused by environmental change—or “a form of homesickness one gets when one is still at ‘home.’” Morris’s series (some photographs are only available through the online exhibition) evinces this sense of loss in Mossville, Louisiana, a town her maternal family has lived in for more than 150 years. The predominantly African American community has been ravaged by pollution, exceptionally high levels of toxins in residents’ bodies, and severe health issues as a result of nearby chemical plants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of Morris’ photographs resemble the kind often seen in representations of rural towns suffering under capitalism. One pictures an apparently abandoned pink pastel clapboard house with peeling paint, another documents a residential land plot with only a concrete driveway, foundation and stairs remaining. To be sure, these evoke a sense of nostalgia and loss, but these feelings are complicated by photographs of the town’s residents.\u003c/p>\n\u003cp>In one photograph, a large group of older adults gathers at what appears to be a high school reunion. The exact mood of the moment is unclear, but there is nonetheless a celebratory or convivial air about the event. Mossville is no ghost town. But what to make of this photograph in light of the violence residents face? Is this a portrait of survival or a portrait of individuals experiencing loss and environmental racism? Maybe it is both, and in that sense, it is a reminder that crises that may feel to some like science fiction are the everyday realities for much of the world.\u003c/p>\n\u003cfigure id=\"attachment_13889389\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/sin-sol-beta-still-1.png\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13889389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/sin-sol-beta-still-1-768x576.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">micha cárdenas, Still from ‘Sin Sol / No Sun,’ 2020. \u003ccite>(Courtesy the artist and YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ybca.org/after-life-micha-cardenas/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Sin Sol / No Sun\u003c/i>\u003c/a> (2020), an augmented reality experience by micha cárdenas, takes another approach to the idea of precedent by showing that the history of future disasters is now. In the iPhone game, which overlays computer graphics over one’s surroundings, Aura, a trans latinx AI hologram, tells of a past climate collapse that is in fact our own present. Aura speaks to players in terms that may feel like science fiction and fact at the same time, such as, “When I walked into the living room of my pod, the orange light shining through the blinds told me the smoke was back.”\u003c/p>\n\u003cp>This familiar language draws a connection between Aura’s time and our own. And if we are the precursor to the destruction of Aura’s time, we should be able to see in history the precursors to the crises of our own time. \u003ci>Sin Sol / No Sun\u003c/i> resists the idea, present even during times of crises, that the future is bound to be bright—that history is on a march toward justice, that we just need to have faith and be patient.\u003c/p>\n\u003cp>But if Morris’ photographs show how the crises of the day are nothing new, and if cárdenas’ piece cautions against overly optimistic visions of the future, these artworks do not emphasize despair or a sense of futility. Art can be a powerful tool for visioning the future, a power that does not seem lost on the artists of \u003ci>AFTER LIFE (we survive)\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13889390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/CIP_2-800x623.jpg\" alt=\"\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-1020x795.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/CIP_2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coven Intelligence Program, ‘One two three potions a secret word / and soon you’ll see a freer world,’ 2020, installation view of ‘AFTER LIFE (we survive),’ YBCA, 2020. \u003ccite>(Courtesy YBCA; Photo by Thea Quiray Tagle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zulfikar Ali Bhutto’s kaleidoscopic animated short film \u003ca href=\"https://ybca.org/after-life-zulfikar-ali-bhutto/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Grace and Mercy 556\u003c/i>\u003c/a>, for example, envisages a future revolution that draws on queer futurism, Islam and the occult. Likewise, the group \u003ca href=\"https://ybca.org/after-life-coven-intelligence-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Coven Intelligence Program\u003c/a>, which describes itself as a techno-botanical coven, imagines the revolutionary potential of engagement between plants and machines. The group’s SpellWeaver app (only available through the online version of the exhibition), allows users to create and invoke their own spells, which are converted into cryptic weaving patterns. When one invokes a spell, they are also being called on to invoke a future of their making. These may be unorthodox calls to action, but they can be invigorating and inspiring, and they can help resist complacency and complicity.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘AFTER LIFE (we survive)’ is on view in YBCA’s windows and online through Jan. 24, 2021. \u003ca href=\"https://ybca.org/event/after-life-we-survive/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Yerba Buena Center for the Arts Lays Off One Third of Its Staff",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>The organization had been able to keep up with payroll expenses over the past three months with the aid of a PPP loan of around $1.5 million. Cullinan said those funds have now run out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each laid-off employee will receive up to 12 weeks of severance pay based on tenure, and three months of health insurance, said Cullinan, who added that she spoke with each laid-off employee individually.\u003c/p>\n\u003cp>The remaining 44 employees will see salary cuts of 5%–12%, with the highest reductions at the top level of the organization.\u003c/p>\n\u003cp>“As an organization that cares deeply about its employees, we held off on making these changes as long as our finances would allow,” Cullinan said. “We also carefully considered equity in all of our decision making.”\u003c/p>\n\u003cp>Cullinan said a few staffers with skills that are currently in demand—like technical production and project management—have been given the chance to step into new positions.\u003c/p>\n\u003cp>Cullinan described the new organizational structure as a group of “pods.” “We have a pod of people that will be working primarily on strategy and revenue. We have a pod focused on program and public engagement. Then we have a pod working around marketing, communication and technology. And our operations pod is sort of the wrap-around,” Cullinan said.\u003c/p>\n\u003cp>The re-organization has led to a slight increase in the number of employees from underrepresented backgrounds, at least in terms of ethnicity.\u003c/p>\n\u003cp>Before the cuts were announced, 43.6% of YBCA staffers self-identified as Black, Indigenous and people of color (BIPOC). Now, 47% of the remaining staff identify as BIPOC.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>, one of YBCA’s funders. The foundation made a $390,000 grant to support YBCA’s performing arts programming in March.\u003c/p>\n\u003cp>YBCA’s announcement follows large job cuts at other prominent San Francisco cultural institutions, including the \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13881318/sfmoma-announces-layoffs-and-reduced-schedules-for-55-employees\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a>, the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sf-arts-groups-face-48-million-loss-in-coronavirus-shutdown-study-says\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13882075/de-young-legion-of-honor-announce-layoffs-and-furloughs-for-47-staff\" target=\"_blank\" rel=\"noopener noreferrer\">Fine Arts Museums of San Francisco\u003c/a>.\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on public art, digital programming and linking artists with financial relief and career opportunities.\u003c/p>\n\u003cp>Key programs include a collaboration with the community-based film nonprofit \u003ca href=\"https://sfurbanfilmfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Urban Film Fest\u003c/a> to reignite YBCA’s screen offerings and the \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>, a platform the center launched in May focused on connecting artists with resources and opportunities. YBCA is also hoping to continue and expand existing initiatives like \u003ca href=\"https://ybca.org/culture-bank/\" target=\"_blank\" rel=\"noopener noreferrer\">CultureBank\u003c/a>, a collaboration with artists in West Oakland, and \u003ca href=\"https://ybca.org/ybca-100/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA 100\u003c/a>, aimed at bringing together creative “fellows” to help instigate social change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What we are focused on is creating more opportunities for more artists to be deeply involved at YBCA,” Cullinan said. “We want to work deeply and over time on game-changing projects.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>The organization had been able to keep up with payroll expenses over the past three months with the aid of a PPP loan of around $1.5 million. Cullinan said those funds have now run out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each laid-off employee will receive up to 12 weeks of severance pay based on tenure, and three months of health insurance, said Cullinan, who added that she spoke with each laid-off employee individually.\u003c/p>\n\u003cp>The remaining 44 employees will see salary cuts of 5%–12%, with the highest reductions at the top level of the organization.\u003c/p>\n\u003cp>“As an organization that cares deeply about its employees, we held off on making these changes as long as our finances would allow,” Cullinan said. “We also carefully considered equity in all of our decision making.”\u003c/p>\n\u003cp>Cullinan said a few staffers with skills that are currently in demand—like technical production and project management—have been given the chance to step into new positions.\u003c/p>\n\u003cp>Cullinan described the new organizational structure as a group of “pods.” “We have a pod of people that will be working primarily on strategy and revenue. We have a pod focused on program and public engagement. Then we have a pod working around marketing, communication and technology. And our operations pod is sort of the wrap-around,” Cullinan said.\u003c/p>\n\u003cp>The re-organization has led to a slight increase in the number of employees from underrepresented backgrounds, at least in terms of ethnicity.\u003c/p>\n\u003cp>Before the cuts were announced, 43.6% of YBCA staffers self-identified as Black, Indigenous and people of color (BIPOC). Now, 47% of the remaining staff identify as BIPOC.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>, one of YBCA’s funders. The foundation made a $390,000 grant to support YBCA’s performing arts programming in March.\u003c/p>\n\u003cp>YBCA’s announcement follows large job cuts at other prominent San Francisco cultural institutions, including the \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13881318/sfmoma-announces-layoffs-and-reduced-schedules-for-55-employees\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a>, the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sf-arts-groups-face-48-million-loss-in-coronavirus-shutdown-study-says\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13882075/de-young-legion-of-honor-announce-layoffs-and-furloughs-for-47-staff\" target=\"_blank\" rel=\"noopener noreferrer\">Fine Arts Museums of San Francisco\u003c/a>.\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on public art, digital programming and linking artists with financial relief and career opportunities.\u003c/p>\n\u003cp>Key programs include a collaboration with the community-based film nonprofit \u003ca href=\"https://sfurbanfilmfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Urban Film Fest\u003c/a> to reignite YBCA’s screen offerings and the \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>, a platform the center launched in May focused on connecting artists with resources and opportunities. YBCA is also hoping to continue and expand existing initiatives like \u003ca href=\"https://ybca.org/culture-bank/\" target=\"_blank\" rel=\"noopener noreferrer\">CultureBank\u003c/a>, a collaboration with artists in West Oakland, and \u003ca href=\"https://ybca.org/ybca-100/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA 100\u003c/a>, aimed at bringing together creative “fellows” to help instigate social change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What we are focused on is creating more opportunities for more artists to be deeply involved at YBCA,” Cullinan said. “We want to work deeply and over time on game-changing projects.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s Yerba Buena Center for the Arts (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the William and Flora Hewlett Foundation, one of YBCA’s funders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on digital programming, and helping artists receive financial relief and further their careers.\u003c/p>\n\u003cp>Read the full story \u003ca href=\"https://www.kqed.org/arts/13883741\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Chloe Veltman (\u003ca href=\"https://twitter.com/chloeveltman\" rel=\"noopener noreferrer\" target=\"_blank\">@chloeveltman\u003c/a>)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Yerba Buena Center for the Arts (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the William and Flora Hewlett Foundation, one of YBCA’s funders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on digital programming, and helping artists receive financial relief and further their careers.\u003c/p>\n\u003cp>Read the full story \u003ca href=\"https://www.kqed.org/arts/13883741\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Chloe Veltman (\u003ca href=\"https://twitter.com/chloeveltman\" rel=\"noopener noreferrer\" target=\"_blank\">@chloeveltman\u003c/a>)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. [aside postID=arts_13876893,arts_13877348,arts_13878711]\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Note: This is the third in a three-part series about the effect of the coronavirus crisis on Bay Area dance companies. Find \u003ca href=\"https://www.kqed.org/arts/13879355/the-precarity-and-ingenuity-of-bay-area-dance-in-isolation\" rel=\"noopener noreferrer\" target=\"_blank\">part one\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13879497/how-dancers-maintain-their-well-being-in-quarantine\" rel=\"noopener noreferrer\" target=\"_blank\">two here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In a final look at Bay Area dance in the pandemic, we note how the struggle to secure relief funding has exposed some of the grave vulnerabilities in the dance world—and how it has pushed some organizations to rethink their models. \u003c/p>\n\u003cp>Along with \u003cstrong>San Francisco Ballet,\u003c/strong> with its 78 dancers and monthly payroll of $2.5–$3 million, a small handful of other Bay Area dance companies have been fortunate to be approved for the Paycheck Protection Program (PPP) funding under the Federal CARES Act. Those include \u003cstrong>LINES Ballet\u003c/strong>—which employs 100 people, including 12 dancers, faculty and staff on a $6 million annual budget—and \u003cstrong>Smuin Ballet\u003c/strong>, which employs 18 dancers and operates on a $3.8 million budget.\u003c/p>\n\u003cp>Others, like \u003cstrong>Oakland Ballet\u003c/strong> and \u003cstrong>Diablo Ballet\u003c/strong>, which operate on budgets of under $1 million, were advised that government PPP funding has run out—which is \u003ca href=\"https://nonprofitquarterly.org/349b-in-ppp-loans-may-already-be-spent-will-the-next-round-be-better/\" target=\"_blank\" rel=\"noopener noreferrer\">the response many smaller nonprofits have received\u003c/a>.\u003c/p>\n\u003cp>Hip-hop dance instructor \u003cstrong>Micaya\u003c/strong> says she’s seeing more emergency resources being made available to visual artists, musicians and actors than to dancers. “Frankly, it is so typical and predictable,” she says. “It is my opinion that dance, especially hip-hop, is the least respected art form out there. I have been constantly fighting to change that way of thinking—way before this virus.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some organizations, like \u003ca href=\"http://worldartswest.org/main/home.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>World Arts West\u003c/strong>\u003c/a> (which organizes the \u003ca href=\"https://sfedfprogram.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ethnic Dance Festival\u003c/strong>\u003c/a>), have been able to access the city’s \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\" rel=\"noopener noreferrer\" target=\"_blank\">Arts Relief Fund\u003c/a>. But Micaya and others say they’re not eligible due to being based outside the city, even though they teach and present dance in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Jo Kreiter\u003c/strong> of Flyaway Productions says her city grant had almost doubled through the \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" rel=\"noopener noreferrer\" target=\"_blank\">hotel tax fund allocations for the arts\u003c/a> in San Francisco. But “for next year’s fundraising, who knows? That hotel tax fund will be decimated. The catapulting effect in the next two years is terrifying with the dance community cut off from public engagement. I worry about our ability to come back, but we are determined and ingenious.” (Plunging hotel taxes \u003ca href=\"https://www.kqed.org/arts/13879146/in-oakland-plunging-hotel-tax-revenue-threatens-to-gut-arts-funding\" rel=\"noopener noreferrer\" target=\"_blank\">threaten Oakland’s arts funding\u003c/a> as well.)\u003c/p>\n\u003cp>\u003cstrong>Robert Moses\u003c/strong> of \u003ca href=\"https://www.robertmoseskin.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Robert Moses’ Kin\u003c/a> points to a growing number of foundations who have signed a \u003ca href=\"https://www.fordfoundation.org/the-latest/news/top-foundations-pledge-flexible-funding-to-grantees-in-wake-of-covid-19-crisis/\" target=\"_blank\" rel=\"noopener noreferrer\">pledge\u003c/a>, spearheaded by the Ford Foundation, to loosen grant restrictions and give small arts groups greater flexibility as they move through this pandemic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0ICkouctBAU\u003c/p>\n\u003ch2>Will Fragmentary Relief Be Enough?\u003c/h2>\n\u003cp>Like many small arts organizations around the Bay, the \u003ca href=\"https://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Dance Film Festival\u003c/strong>\u003c/a> finds itself ineligible for SBA/PPP funding, because its team is made up of freelancers and independent contractors. However, it will have access to the NEA’s new NEA/CARES fund, and received an emergency loan from Northern California Grantmakers (NCG).\u003c/p>\n\u003cp>“In a time like this, freelancers are so vulnerable,” worries festival director \u003cstrong>Judy Flannery\u003c/strong>. “This mélange of artistic hope and creativity that’s still bubbling around, and then this dark cloud of reality—how do people survive economically and physically in this?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sxuNpfSsqu8\u003c/p>\n\u003cp>Flannery said the festival had already been rethinking its model before the pandemic. And now many dancers are reaching out to them as they experiment with filming dance in isolation. In recent years, the festival developed a ‘co-laboratory’ practice in which it pairs local dancemakers and filmmakers to make new work quickly. “The landscape will change,” Flannery is certain, “even if the physical festival goes ahead.”\u003c/p>\n\u003cp>https://vimeo.com/243957137\u003c/p>\n\u003cp>\u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Yerba Buena Center for the Arts (YBCA)\u003c/strong>\u003c/a> and \u003ca href=\"http://worldartswest.org/main/home.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>World Arts West\u003c/strong>\u003c/a> are two organizations who had also been rethinking their models even before the present health crisis. For YBCA’s \u003cstrong>Deborah Cullinan\u003c/strong> that means discussion around “what it means to be in relationship with artists, to engage around issues that matter to them, how to be a creative home and a center for the community.” On projects like \u003ca href=\"https://ybca.org/event/come-to-your-census-who-counts-in-america/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Come to Your Census\u003c/em>\u003c/a>, YBCA had already transitioned to working in partnership with a public agency, the SF Office of Immigration and Civic Affairs, around the shared mission of reaching communities that are hardest to count.\u003c/p>\n\u003cp>Cullinan maintains the “big question is not just how extensive are these \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">impacts\u003c/a> going to be (like the hotel tax fund allocation for the arts), and are we going to be smart enough about how we respond with relief and recovery policy, but also how we evolve in terms of our structures. It’s got to be both. I do not believe that we’re waiting it out, to put a Band-Aid on it, then come back… The reality is, we were already in trouble.”\u003c/p>\n\u003cp>She cites the inspiration of choreographer Liz Lerman, one of YBCA’s senior fellows, with whom YBCA is working to develop an online program to support dancers and choreographers “who need to work and grieve through a process of change and loss to get to the other side… How do you help ritualize and move people through something?”\u003c/p>\n\u003cp>Lerman, she says, “talks about the idea that we are most inventive when we are trying to survive. We’re making these inventive decisions to stay alive in the moment. At the exact same time when we are inventing new modes, we need to think about the future.”\u003c/p>\n\u003ch2>‘New Ways of Working’\u003c/h2>\n\u003cp>\u003cstrong>World Arts West\u003c/strong> serves over 450 dance companies around Northern California, including a growing number of young artists—many deeply rooted in specific cultural forms who put their own stamp on innovative work. Exemplifying “living tradition,” as executive director \u003cstrong>Anne Huang\u003c/strong> puts it.\u003c/p>\n\u003cp>In addition to the storytelling and ritual elements of many of these world dances, Huang says there is a strong spiritual side that impacts community health, especially in times of crisis. “Because their everyday world is falling apart, they reach back to the collective faith of the community, which can be extremely grounding.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3YYkZz50Lo0\u003c/p>\n\u003cp>The \u003cstrong>San Francisco Ethnic Dance Festival\u003c/strong> has traditionally provided World Arts West’s artists with a way to network and collaborate on cross-cultural creations. But the organization seeks to sustain their livelihoods more broadly, by getting them tools such as workspace resources, contract management, and grant writing support—and, in the pandemic, helping to get their classes online.\u003c/p>\n\u003cp>World Arts West is developing festival contingency plans, while releasing content from its archives of over 40 years of world dance. Meanwhile, Huang says, “Some artists are telling me, I’m giving online classes and I didn’t know I have fans and students from other states and countries! After COVID, what does this revenue stream look like: teaching local classes as well as online classes all around the world. I feel we’re going to emerge from this crisis not just a changed nation, a changed world but with new ways of working, of earning revenue.”\u003c/p>\n\u003cp>https://vimeo.com/402061201\u003c/p>\n\u003cp>\u003ca href=\"http://www.lenoraleedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lenora Lee \u003c/strong>\u003c/a>of Lenora Lee Dance has been developing a series of multimedia performances in spaces around the Ping Yuen Public Housing Complex to reflect on the historical struggles of the local Chinese community for affordable housing and housing rights, and their relationships with other marginalized groups in the community, including Russians and African Americans.\u003c/p>\n\u003cp>Lee has just reorganized her budget for the project, titled \u003cem>And the Community Will Rise\u003c/em>, and raised additional funds from individual and foundation donors to provide some relief assistance to her 14 dancers through the shelter-in-place. A total of $25K will also allow her to push out rehearsals for an additional three months in anticipation of a delay in premiering the work.\u003c/p>\n\u003cp>She says, “I decided not to push further with online fundraising at this time, as it felt like so many people were initiating campaigns to raise money.”\u003c/p>\n\u003cp>This stepping back in the face of a collective threat makes clear that broad-based relief is needed. Relief that doesn’t penalize freelancers and smaller organizations who may not have strong institutional banking relationships, and that doesn’t involve a multitude of applications. Many of the artists I spoke with expressed enormous frustration at the \u003ca href=\"https://news.artnet.com/art-world/funding-for-arts-and-cultural-groups-1815213\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. government’s flimsy commitment to arts relief funding\u003c/a>—especially in comparison to a country like \u003ca href=\"https://news.artnet.com/art-world/german-bailout-50-billion-1815396\" target=\"_blank\" rel=\"noopener noreferrer\">Germany\u003c/a> which has committed 50 billion euros to the effort.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.lenoraleedance.com/2020/03/words-of-gratitude-from-our-artists-dancing-remotely/\" target=\"_blank\" rel=\"noopener noreferrer\">message\u003c/a> from \u003cstrong>Lenora Lee Dance\u003c/strong> to its supporters, dancer \u003cstrong>Anna Greenberg Gold\u003c/strong> wrote: “My work as an artist is to make visible the invisible, to dance thoughts and images into fruition, to be a time machine, a medium, a mover of emotions, a gardener of energies, a storyteller and a light. I hope to continue to shine my light on important issues through dance. Now more than ever, the world needs us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This is the third in a three-part series about the effect of the coronavirus crisis on Bay Area dance companies. Find \u003ca href=\"https://www.kqed.org/arts/13879355/the-precarity-and-ingenuity-of-bay-area-dance-in-isolation\" rel=\"noopener noreferrer\" target=\"_blank\">part one\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13879497/how-dancers-maintain-their-well-being-in-quarantine\" rel=\"noopener noreferrer\" target=\"_blank\">two here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In a final look at Bay Area dance in the pandemic, we note how the struggle to secure relief funding has exposed some of the grave vulnerabilities in the dance world—and how it has pushed some organizations to rethink their models. \u003c/p>\n\u003cp>Along with \u003cstrong>San Francisco Ballet,\u003c/strong> with its 78 dancers and monthly payroll of $2.5–$3 million, a small handful of other Bay Area dance companies have been fortunate to be approved for the Paycheck Protection Program (PPP) funding under the Federal CARES Act. Those include \u003cstrong>LINES Ballet\u003c/strong>—which employs 100 people, including 12 dancers, faculty and staff on a $6 million annual budget—and \u003cstrong>Smuin Ballet\u003c/strong>, which employs 18 dancers and operates on a $3.8 million budget.\u003c/p>\n\u003cp>Others, like \u003cstrong>Oakland Ballet\u003c/strong> and \u003cstrong>Diablo Ballet\u003c/strong>, which operate on budgets of under $1 million, were advised that government PPP funding has run out—which is \u003ca href=\"https://nonprofitquarterly.org/349b-in-ppp-loans-may-already-be-spent-will-the-next-round-be-better/\" target=\"_blank\" rel=\"noopener noreferrer\">the response many smaller nonprofits have received\u003c/a>.\u003c/p>\n\u003cp>Hip-hop dance instructor \u003cstrong>Micaya\u003c/strong> says she’s seeing more emergency resources being made available to visual artists, musicians and actors than to dancers. “Frankly, it is so typical and predictable,” she says. “It is my opinion that dance, especially hip-hop, is the least respected art form out there. I have been constantly fighting to change that way of thinking—way before this virus.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some organizations, like \u003ca href=\"http://worldartswest.org/main/home.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>World Arts West\u003c/strong>\u003c/a> (which organizes the \u003ca href=\"https://sfedfprogram.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ethnic Dance Festival\u003c/strong>\u003c/a>), have been able to access the city’s \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\" rel=\"noopener noreferrer\" target=\"_blank\">Arts Relief Fund\u003c/a>. But Micaya and others say they’re not eligible due to being based outside the city, even though they teach and present dance in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Jo Kreiter\u003c/strong> of Flyaway Productions says her city grant had almost doubled through the \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" rel=\"noopener noreferrer\" target=\"_blank\">hotel tax fund allocations for the arts\u003c/a> in San Francisco. But “for next year’s fundraising, who knows? That hotel tax fund will be decimated. The catapulting effect in the next two years is terrifying with the dance community cut off from public engagement. I worry about our ability to come back, but we are determined and ingenious.” (Plunging hotel taxes \u003ca href=\"https://www.kqed.org/arts/13879146/in-oakland-plunging-hotel-tax-revenue-threatens-to-gut-arts-funding\" rel=\"noopener noreferrer\" target=\"_blank\">threaten Oakland’s arts funding\u003c/a> as well.)\u003c/p>\n\u003cp>\u003cstrong>Robert Moses\u003c/strong> of \u003ca href=\"https://www.robertmoseskin.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Robert Moses’ Kin\u003c/a> points to a growing number of foundations who have signed a \u003ca href=\"https://www.fordfoundation.org/the-latest/news/top-foundations-pledge-flexible-funding-to-grantees-in-wake-of-covid-19-crisis/\" target=\"_blank\" rel=\"noopener noreferrer\">pledge\u003c/a>, spearheaded by the Ford Foundation, to loosen grant restrictions and give small arts groups greater flexibility as they move through this pandemic.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0ICkouctBAU'\n title='//www.youtube.com/embed/0ICkouctBAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Will Fragmentary Relief Be Enough?\u003c/h2>\n\u003cp>Like many small arts organizations around the Bay, the \u003ca href=\"https://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Dance Film Festival\u003c/strong>\u003c/a> finds itself ineligible for SBA/PPP funding, because its team is made up of freelancers and independent contractors. However, it will have access to the NEA’s new NEA/CARES fund, and received an emergency loan from Northern California Grantmakers (NCG).\u003c/p>\n\u003cp>“In a time like this, freelancers are so vulnerable,” worries festival director \u003cstrong>Judy Flannery\u003c/strong>. “This mélange of artistic hope and creativity that’s still bubbling around, and then this dark cloud of reality—how do people survive economically and physically in this?”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sxuNpfSsqu8'\n title='//www.youtube.com/embed/sxuNpfSsqu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Flannery said the festival had already been rethinking its model before the pandemic. And now many dancers are reaching out to them as they experiment with filming dance in isolation. In recent years, the festival developed a ‘co-laboratory’ practice in which it pairs local dancemakers and filmmakers to make new work quickly. “The landscape will change,” Flannery is certain, “even if the physical festival goes ahead.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Yerba Buena Center for the Arts (YBCA)\u003c/strong>\u003c/a> and \u003ca href=\"http://worldartswest.org/main/home.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>World Arts West\u003c/strong>\u003c/a> are two organizations who had also been rethinking their models even before the present health crisis. For YBCA’s \u003cstrong>Deborah Cullinan\u003c/strong> that means discussion around “what it means to be in relationship with artists, to engage around issues that matter to them, how to be a creative home and a center for the community.” On projects like \u003ca href=\"https://ybca.org/event/come-to-your-census-who-counts-in-america/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Come to Your Census\u003c/em>\u003c/a>, YBCA had already transitioned to working in partnership with a public agency, the SF Office of Immigration and Civic Affairs, around the shared mission of reaching communities that are hardest to count.\u003c/p>\n\u003cp>Cullinan maintains the “big question is not just how extensive are these \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">impacts\u003c/a> going to be (like the hotel tax fund allocation for the arts), and are we going to be smart enough about how we respond with relief and recovery policy, but also how we evolve in terms of our structures. It’s got to be both. I do not believe that we’re waiting it out, to put a Band-Aid on it, then come back… The reality is, we were already in trouble.”\u003c/p>\n\u003cp>She cites the inspiration of choreographer Liz Lerman, one of YBCA’s senior fellows, with whom YBCA is working to develop an online program to support dancers and choreographers “who need to work and grieve through a process of change and loss to get to the other side… How do you help ritualize and move people through something?”\u003c/p>\n\u003cp>Lerman, she says, “talks about the idea that we are most inventive when we are trying to survive. We’re making these inventive decisions to stay alive in the moment. At the exact same time when we are inventing new modes, we need to think about the future.”\u003c/p>\n\u003ch2>‘New Ways of Working’\u003c/h2>\n\u003cp>\u003cstrong>World Arts West\u003c/strong> serves over 450 dance companies around Northern California, including a growing number of young artists—many deeply rooted in specific cultural forms who put their own stamp on innovative work. Exemplifying “living tradition,” as executive director \u003cstrong>Anne Huang\u003c/strong> puts it.\u003c/p>\n\u003cp>In addition to the storytelling and ritual elements of many of these world dances, Huang says there is a strong spiritual side that impacts community health, especially in times of crisis. “Because their everyday world is falling apart, they reach back to the collective faith of the community, which can be extremely grounding.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3YYkZz50Lo0'\n title='//www.youtube.com/embed/3YYkZz50Lo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cstrong>San Francisco Ethnic Dance Festival\u003c/strong> has traditionally provided World Arts West’s artists with a way to network and collaborate on cross-cultural creations. But the organization seeks to sustain their livelihoods more broadly, by getting them tools such as workspace resources, contract management, and grant writing support—and, in the pandemic, helping to get their classes online.\u003c/p>\n\u003cp>World Arts West is developing festival contingency plans, while releasing content from its archives of over 40 years of world dance. Meanwhile, Huang says, “Some artists are telling me, I’m giving online classes and I didn’t know I have fans and students from other states and countries! After COVID, what does this revenue stream look like: teaching local classes as well as online classes all around the world. I feel we’re going to emerge from this crisis not just a changed nation, a changed world but with new ways of working, of earning revenue.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.lenoraleedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lenora Lee \u003c/strong>\u003c/a>of Lenora Lee Dance has been developing a series of multimedia performances in spaces around the Ping Yuen Public Housing Complex to reflect on the historical struggles of the local Chinese community for affordable housing and housing rights, and their relationships with other marginalized groups in the community, including Russians and African Americans.\u003c/p>\n\u003cp>Lee has just reorganized her budget for the project, titled \u003cem>And the Community Will Rise\u003c/em>, and raised additional funds from individual and foundation donors to provide some relief assistance to her 14 dancers through the shelter-in-place. A total of $25K will also allow her to push out rehearsals for an additional three months in anticipation of a delay in premiering the work.\u003c/p>\n\u003cp>She says, “I decided not to push further with online fundraising at this time, as it felt like so many people were initiating campaigns to raise money.”\u003c/p>\n\u003cp>This stepping back in the face of a collective threat makes clear that broad-based relief is needed. Relief that doesn’t penalize freelancers and smaller organizations who may not have strong institutional banking relationships, and that doesn’t involve a multitude of applications. Many of the artists I spoke with expressed enormous frustration at the \u003ca href=\"https://news.artnet.com/art-world/funding-for-arts-and-cultural-groups-1815213\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. government’s flimsy commitment to arts relief funding\u003c/a>—especially in comparison to a country like \u003ca href=\"https://news.artnet.com/art-world/german-bailout-50-billion-1815396\" target=\"_blank\" rel=\"noopener noreferrer\">Germany\u003c/a> which has committed 50 billion euros to the effort.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.lenoraleedance.com/2020/03/words-of-gratitude-from-our-artists-dancing-remotely/\" target=\"_blank\" rel=\"noopener noreferrer\">message\u003c/a> from \u003cstrong>Lenora Lee Dance\u003c/strong> to its supporters, dancer \u003cstrong>Anna Greenberg Gold\u003c/strong> wrote: “My work as an artist is to make visible the invisible, to dance thoughts and images into fruition, to be a time machine, a medium, a mover of emotions, a gardener of energies, a storyteller and a light. I hope to continue to shine my light on important issues through dance. Now more than ever, the world needs us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Bruce Baillie died on April 10 at his Washington state home at the age of 88, the curtain also dropped on an influential yet seat-of-the-pants era in Bay Area avant-garde film. \u003c/p>\n\u003cp>A South Dakotan who studied in Minnesota, London and Yugoslavia, Baillie migrated here in the late ’50s and set about teaching himself cinematography and editing. In tandem with making films of uncommon beauty and grace, he founded \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Canyon Cinema\u003c/a> (to screen and eventually distribute his and fellow artists’ films) and co-founded \u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Cinematheque\u003c/a>.\u003c/p>\n\u003cp>“Immediately, I realized that making films and showing films must go hand in hand,” Baillie recalled in a 1989 conversation with experimental-film historian and critic Scott MacDonald, “so [in 1960] I got a job at Safeway, took out a loan and bought a projector. We got an army surplus screen and hung it up real nice in the backyard of this house we were renting. Then we’d find whatever films we could, including our own little things that were in progress—‘we,’ there wasn’t really any we, just me for a while—and show them.”\u003c/p>\n\u003cp>Baillie’s films evince his unique eye and sensibility yet generously allow ample room for the viewer’s experience. Revisit \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0060220\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Street\u003c/a>\u003c/em> (1966), shot largely in Richmond and redolent with train whistles and train tracks, evoking both night dreams and daydreams of an America to be explored \u003cem>just out there\u003c/em>. “For Baillie,” MacDonald wrote, “the filmstrip is a space where the physical world around him and the spiritual world within him can intersect.” \u003c/p>\n\u003cfigure id=\"attachment_13878833\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg\" alt=\"\" width=\"1320\" height=\"740\" class=\"size-full wp-image-13878833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-1020x572.jpg 1020w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karly Stark’s ‘the problem is that everything is fleeting,’ 2015. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Cinematheque, for its part, continues to champion the handmade films of avant-garde artists, and is one of several local institutions streaming new and recent work for free while theater spaces are shuttered. The short-film compilation \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/certainty-is-becoming-our-nemesis/\" rel=\"noopener noreferrer\" target=\"_blank\">certainty is becoming our nemesis\u003c/a>\u003c/em>, which screened in conjunction with the \u003cem>\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" rel=\"noopener noreferrer\" target=\"_blank\">Orlando\u003c/a>\u003c/em> exhibition curated by Tilda Swinton at McEvoy Foundation for the Arts until shelter-in-place orders went into effect, has moved online through May 2. From the morphing nude portraits of Alice Anne Parker’s \u003cem>Riverbody\u003c/em> (1970) to Karly Stark’s onscreen pondering of \u003cem>the problem is that everything is fleeting\u003c/em> (2015), the program embraces flux and fluidity—which makes it even more on point than curator Steve Polta could have imagined.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SF Cinematheque has also teamed with Yerba Buena Center for the Arts and Video Data Bank on \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/i-hate-the-internet/\" rel=\"noopener noreferrer\" target=\"_blank\">I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion\u003c/a>\u003c/em>, a program of apocalypse-now-and-in-the-future shorts, online through May 16. Jesse McLean’s \u003cem>The Invisible World\u003c/em> (2012), with its probing of our relationship to common household objects, may be especially poignant for viewers who catch themselves staring at a drawer of silverware or plastic wrap and contemplating the inner lives of inanimate objects.\u003c/p>\n\u003cp>SFMOMA has initiated a smattering of online screenings in its #MuseumFromHome program, with local sound-and-image artist Bill Fontana’s entrancing \u003cem>\u003ca href=\"http://www.sfmoma.org/watch/museumfromhome-online-screenings/\" rel=\"noopener noreferrer\" target=\"_blank\">White Motions\u003c/a>\u003c/em> (2017) (headphones essential!) on view through April 21. Bookmark the page as a different film goes up every Wednesday.\u003c/p>\n\u003cp>In lieu of its sadly canceled festival, which would otherwise be unspooling right now, SFFILM offers a couple of online options under the rubric “SFFILM at Home.” A veritable flock of filmmakers whose new work was scheduled to play the festival have recorded video profiles, which you can browse at \u003ca href=\"https://sffilm.org/meet-the-filmmakers/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Filmmakers\u003c/a>. If you’d rather hear moviemakers riff about films you’ve actually seen, SFFILM has also uploaded a trove of onstage interviews with actors and directors from \u003ca href=\"https://sffilm.org/from-the-archives/\" rel=\"noopener noreferrer\" target=\"_blank\">previous festivals\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13878835\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg\" alt=\"\" width=\"960\" height=\"499\" class=\"size-full wp-image-13878835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-768x399.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Saru Jayaraman at a rally against sexual harassment in Abby Ginzberg’s ‘Waging Change.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special treat for those who’ve read this far: Via its ongoing online Virtual Film Festival, the New York distributor Women Make Movies is streaming East Bay documentary maker Abby Ginzberg’s essential new film, \u003cem>Waging Change\u003c/em>, April 17–26. It’s part of this month’s \u003ca href=\"https://mailchi.mp/wmm/whm-virtual-film-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Films, Interrupted\u003c/a> series of new works whose festival premieres and theatrical launches were coronavirus casualties. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s Bay Area premiere—and key revenue stream—was scheduled for March 27 at the Castro, then bumped to May and pushed again to July 12. Check out the \u003ca href=\"http://wagingchange.com/trailer\" rel=\"noopener noreferrer\" target=\"_blank\">trailer\u003c/a>, watch the entire film for free thanks to Women Make Movies, then tip your server generously at the \u003ca href=\"http://wagingchange.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Waging Change\u003c/em> website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Bruce Baillie died on April 10 at his Washington state home at the age of 88, the curtain also dropped on an influential yet seat-of-the-pants era in Bay Area avant-garde film. \u003c/p>\n\u003cp>A South Dakotan who studied in Minnesota, London and Yugoslavia, Baillie migrated here in the late ’50s and set about teaching himself cinematography and editing. In tandem with making films of uncommon beauty and grace, he founded \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Canyon Cinema\u003c/a> (to screen and eventually distribute his and fellow artists’ films) and co-founded \u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Cinematheque\u003c/a>.\u003c/p>\n\u003cp>“Immediately, I realized that making films and showing films must go hand in hand,” Baillie recalled in a 1989 conversation with experimental-film historian and critic Scott MacDonald, “so [in 1960] I got a job at Safeway, took out a loan and bought a projector. We got an army surplus screen and hung it up real nice in the backyard of this house we were renting. Then we’d find whatever films we could, including our own little things that were in progress—‘we,’ there wasn’t really any we, just me for a while—and show them.”\u003c/p>\n\u003cp>Baillie’s films evince his unique eye and sensibility yet generously allow ample room for the viewer’s experience. Revisit \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0060220\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Street\u003c/a>\u003c/em> (1966), shot largely in Richmond and redolent with train whistles and train tracks, evoking both night dreams and daydreams of an America to be explored \u003cem>just out there\u003c/em>. “For Baillie,” MacDonald wrote, “the filmstrip is a space where the physical world around him and the spiritual world within him can intersect.” \u003c/p>\n\u003cfigure id=\"attachment_13878833\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg\" alt=\"\" width=\"1320\" height=\"740\" class=\"size-full wp-image-13878833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-1020x572.jpg 1020w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karly Stark’s ‘the problem is that everything is fleeting,’ 2015. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Cinematheque, for its part, continues to champion the handmade films of avant-garde artists, and is one of several local institutions streaming new and recent work for free while theater spaces are shuttered. The short-film compilation \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/certainty-is-becoming-our-nemesis/\" rel=\"noopener noreferrer\" target=\"_blank\">certainty is becoming our nemesis\u003c/a>\u003c/em>, which screened in conjunction with the \u003cem>\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" rel=\"noopener noreferrer\" target=\"_blank\">Orlando\u003c/a>\u003c/em> exhibition curated by Tilda Swinton at McEvoy Foundation for the Arts until shelter-in-place orders went into effect, has moved online through May 2. From the morphing nude portraits of Alice Anne Parker’s \u003cem>Riverbody\u003c/em> (1970) to Karly Stark’s onscreen pondering of \u003cem>the problem is that everything is fleeting\u003c/em> (2015), the program embraces flux and fluidity—which makes it even more on point than curator Steve Polta could have imagined.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF Cinematheque has also teamed with Yerba Buena Center for the Arts and Video Data Bank on \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/i-hate-the-internet/\" rel=\"noopener noreferrer\" target=\"_blank\">I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion\u003c/a>\u003c/em>, a program of apocalypse-now-and-in-the-future shorts, online through May 16. Jesse McLean’s \u003cem>The Invisible World\u003c/em> (2012), with its probing of our relationship to common household objects, may be especially poignant for viewers who catch themselves staring at a drawer of silverware or plastic wrap and contemplating the inner lives of inanimate objects.\u003c/p>\n\u003cp>SFMOMA has initiated a smattering of online screenings in its #MuseumFromHome program, with local sound-and-image artist Bill Fontana’s entrancing \u003cem>\u003ca href=\"http://www.sfmoma.org/watch/museumfromhome-online-screenings/\" rel=\"noopener noreferrer\" target=\"_blank\">White Motions\u003c/a>\u003c/em> (2017) (headphones essential!) on view through April 21. Bookmark the page as a different film goes up every Wednesday.\u003c/p>\n\u003cp>In lieu of its sadly canceled festival, which would otherwise be unspooling right now, SFFILM offers a couple of online options under the rubric “SFFILM at Home.” A veritable flock of filmmakers whose new work was scheduled to play the festival have recorded video profiles, which you can browse at \u003ca href=\"https://sffilm.org/meet-the-filmmakers/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Filmmakers\u003c/a>. If you’d rather hear moviemakers riff about films you’ve actually seen, SFFILM has also uploaded a trove of onstage interviews with actors and directors from \u003ca href=\"https://sffilm.org/from-the-archives/\" rel=\"noopener noreferrer\" target=\"_blank\">previous festivals\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13878835\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg\" alt=\"\" width=\"960\" height=\"499\" class=\"size-full wp-image-13878835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-768x399.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Saru Jayaraman at a rally against sexual harassment in Abby Ginzberg’s ‘Waging Change.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special treat for those who’ve read this far: Via its ongoing online Virtual Film Festival, the New York distributor Women Make Movies is streaming East Bay documentary maker Abby Ginzberg’s essential new film, \u003cem>Waging Change\u003c/em>, April 17–26. It’s part of this month’s \u003ca href=\"https://mailchi.mp/wmm/whm-virtual-film-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Films, Interrupted\u003c/a> series of new works whose festival premieres and theatrical launches were coronavirus casualties. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s Bay Area premiere—and key revenue stream—was scheduled for March 27 at the Castro, then bumped to May and pushed again to July 12. Check out the \u003ca href=\"http://wagingchange.com/trailer\" rel=\"noopener noreferrer\" target=\"_blank\">trailer\u003c/a>, watch the entire film for free thanks to Women Make Movies, then tip your server generously at the \u003ca href=\"http://wagingchange.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Waging Change\u003c/em> website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Penny-pinchers unite! On Thursday, Feb. 20, the museums of the Yerba Buena neighborhood are opening their doors free of charge. The list of participating institutions in this year’s first Culture for Community Free Day includes the California Historical Society, the Contemporary Jewish Museum, the Museum of the African Diaspora, SFMOMA and Yerba Buena Center for the Arts.[aside postID='arts_13874133,arts_13870199,arts_13871900,arts_13861476' label='What to See']\u003c/p>\n\u003cp>There’s a lot to see at all of the above, especially if you try to hit up each and every venue, so I have a few recommendations. Don’t miss \u003ca href=\"https://www.sfmoma.org/exhibition/dawoud-bey-an-american-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>An American Project\u003c/i>\u003c/a>, Dawoud Bey’s retrospective at SFMOMA. There you’ll see four decades of his beautiful photographs of Harlem residents, high school students, and most recently, sites that evoke the route of the Underground Railroad. \u003c/p>\n\u003cp>At the CJM, there’s a whole show about \u003ca href=\"https://www.thecjm.org/exhibitions/114\" target=\"_blank\" rel=\"noopener noreferrer\">Levi Strauss\u003c/a>, the man who invented the blue jean and established San Francisco as the center of a denim empire. A bit further afield, but worth the trek to Market and 6th, SF Camerawork hosts a solo by local artist \u003ca href=\"https://sfcamerawork.org/jamil-hellu\" rel=\"noopener noreferrer\" target=\"_blank\">Jamil Hellu\u003c/a>, whose collaborative photographic work (and narrative titles) you might recognize from the most recent \u003ci>Bay Area Now\u003c/i>.\u003c/p>\n\u003cp>And last but not least, don’t sleep on Kwame Brathwaite’s \u003ca href=\"https://www.kqed.org/arts/13871900/photos-that-defined-black-is-beautiful-can-spark-conversation-once-again\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Black is Beautiful\u003c/i>\u003c/a>, a MoAD show filled with beautifully saturated photographs that embody that titular rally cry—and open new avenues for reflecting on the complicated legacy of Brathwaite’s imagery.\u003c/p>\n\u003cp>Here’s the full day’s schedule, for your viewing and visiting pleasure:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://111minnagallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">111 Minna\u003c/a>:\u003c/strong> Open 10am–9pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Creativity Museum\u003c/a>\u003c/strong>: Free 10am–4pm (with free carousel rides 10am–7pm)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://thecjm.org/programs/639\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>: Free 11am–8pm (with evening programming)\u003c/li>\n\u003cli>\u003ca href=\"https://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MoAD\u003c/strong>\u003c/a>: Free 11am–8pm (open mic 6–8pm)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://sfcamerawork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Camerawork\u003c/a>:\u003c/strong> 12–6pm (always free)\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SFMOMA\u003c/strong>\u003c/a>: Free 10am–9pm (\u003ca href=\"http://sfmoma.me/CFCFeb20\" target=\"_blank\" rel=\"noopener noreferrer\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003ca href=\"https://ybca.org/event/2020-feb-third-thursday/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>YBCA\u003c/strong>\u003c/a>: Open 11am–8pm, free 5pm–8pm\u003c/li>\n\u003c/ul>\n\u003cp>Read more about the event \u003ca href=\"https://www.yb3tsf.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Penny-pinchers unite! On Thursday, Feb. 20, the museums of the Yerba Buena neighborhood are opening their doors free of charge. The list of participating institutions in this year’s first Culture for Community Free Day includes the California Historical Society, the Contemporary Jewish Museum, the Museum of the African Diaspora, SFMOMA and Yerba Buena Center for the Arts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lot to see at all of the above, especially if you try to hit up each and every venue, so I have a few recommendations. Don’t miss \u003ca href=\"https://www.sfmoma.org/exhibition/dawoud-bey-an-american-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>An American Project\u003c/i>\u003c/a>, Dawoud Bey’s retrospective at SFMOMA. There you’ll see four decades of his beautiful photographs of Harlem residents, high school students, and most recently, sites that evoke the route of the Underground Railroad. \u003c/p>\n\u003cp>At the CJM, there’s a whole show about \u003ca href=\"https://www.thecjm.org/exhibitions/114\" target=\"_blank\" rel=\"noopener noreferrer\">Levi Strauss\u003c/a>, the man who invented the blue jean and established San Francisco as the center of a denim empire. A bit further afield, but worth the trek to Market and 6th, SF Camerawork hosts a solo by local artist \u003ca href=\"https://sfcamerawork.org/jamil-hellu\" rel=\"noopener noreferrer\" target=\"_blank\">Jamil Hellu\u003c/a>, whose collaborative photographic work (and narrative titles) you might recognize from the most recent \u003ci>Bay Area Now\u003c/i>.\u003c/p>\n\u003cp>And last but not least, don’t sleep on Kwame Brathwaite’s \u003ca href=\"https://www.kqed.org/arts/13871900/photos-that-defined-black-is-beautiful-can-spark-conversation-once-again\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Black is Beautiful\u003c/i>\u003c/a>, a MoAD show filled with beautifully saturated photographs that embody that titular rally cry—and open new avenues for reflecting on the complicated legacy of Brathwaite’s imagery.\u003c/p>\n\u003cp>Here’s the full day’s schedule, for your viewing and visiting pleasure:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://111minnagallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">111 Minna\u003c/a>:\u003c/strong> Open 10am–9pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Creativity Museum\u003c/a>\u003c/strong>: Free 10am–4pm (with free carousel rides 10am–7pm)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://thecjm.org/programs/639\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>: Free 11am–8pm (with evening programming)\u003c/li>\n\u003cli>\u003ca href=\"https://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MoAD\u003c/strong>\u003c/a>: Free 11am–8pm (open mic 6–8pm)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://sfcamerawork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Camerawork\u003c/a>:\u003c/strong> 12–6pm (always free)\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SFMOMA\u003c/strong>\u003c/a>: Free 10am–9pm (\u003ca href=\"http://sfmoma.me/CFCFeb20\" target=\"_blank\" rel=\"noopener noreferrer\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003ca href=\"https://ybca.org/event/2020-feb-third-thursday/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>YBCA\u003c/strong>\u003c/a>: Open 11am–8pm, free 5pm–8pm\u003c/li>\n\u003c/ul>\n\u003cp>Read more about the event \u003ca href=\"https://www.yb3tsf.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Over a dozen Yerba Buena-adjacent arts and cultural institutions have joined forces for the second time this year to offer free admission and special programming as part of \u003ca href=\"https://www.yb3tsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Culture for Community\u003c/a>, an event timed to the neighborhood’s regular third Thursday extravaganza.\u003c/p>\n\u003cp>[aside postID='arts_13861476,arts_13862451,arts_13866230' label='What to see']\u003c/p>\n\u003cp>The collaboration opens doors at SFMOMA, the Museum of the African Diaspora, the California Historical Society, the Contemporary Jewish Museum and Yerba Buena Center for the Arts, with most institutions hosting events and tours tied to the theme of intergenerational storytelling.\u003c/p>\n\u003cp>Highlights include \u003ca href=\"https://crownpoint.com/exhibition/8940/\" target=\"_blank\" rel=\"noopener noreferrer\">new etchings by Gay Outlaw\u003c/a> at Crown Point Press, YBCA’s technology-centric group show \u003ci>\u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener noreferrer\">The Body Electric\u003c/a>\u003c/i>, \u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">11am and 1pm screenings\u003c/a> of Nicole Miller’s \u003ci>To The Stars\u003c/i> at SFMOMA, and \u003ca href=\"https://www.thecjm.org/exhibitions/109\" target=\"_blank\" rel=\"noopener noreferrer\">Annabeth Rosen’s magnificent survey\u003c/a> of ceramic work at the CJM.\u003c/p>\n\u003cp>Skip out of work early, take a long lunch break, do what you have to do to soak up as much art and culture as you can this Thursday. Here’s the list of major institutions and their (often extended) hours:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://bookbindersmuseum.org/culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">American Bookbinders Museum\u003c/a>\u003c/strong>: Free 10am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003c/strong>: Free 11am–5pm with \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1829\" target=\"_blank\" rel=\"noopener noreferrer\">a talk at 6:30pm\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Creativity Museum\u003c/a>\u003c/strong>: Free 10am–7pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>: Free 11am–9pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://crownpoint.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Point Press\u003c/a>\u003c/strong>: Open 10am–8pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://www.mirusgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirus Gallery\u003c/a>\u003c/strong>: Open 12–9pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/culture-for-community-free-day/?instance_id=15532\" target=\"_blank\" rel=\"noopener noreferrer\">MoAD\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SFMOMA\u003c/strong>\u003c/a>: Free 10am–9pm (\u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.spur.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SPUR\u003c/a>\u003c/strong>: Open 9am–7:30pm with a \u003ca href=\"https://www.spur.org/events/2019-09-19/what-urban-design-can-learn-senior-design\" target=\"_blank\" rel=\"noopener noreferrer\">talk at 6pm\u003c/a> (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybca.org/event/third-thursday-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/ricardo-lemvo-2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Gardens Festival\u003c/a>\u003c/strong>: Performance by Ricardo Lemvo, 6–7:30pm\u003c/li>\n\u003cli>\u003ca href=\"https://111minnagallery.com/event/yerba-buena-3rd-thursdays-presents-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>111 Minna\u003c/strong>\u003c/a>: Open 7am–9pm (always free)\u003c/li>\n\u003c/ul>\n\u003cp>See the full list of participating spaces \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The collaboration opens doors at SFMOMA, the Museum of the African Diaspora, the California Historical Society, the Contemporary Jewish Museum and Yerba Buena Center for the Arts, with most institutions hosting events and tours tied to the theme of intergenerational storytelling.\u003c/p>\n\u003cp>Highlights include \u003ca href=\"https://crownpoint.com/exhibition/8940/\" target=\"_blank\" rel=\"noopener noreferrer\">new etchings by Gay Outlaw\u003c/a> at Crown Point Press, YBCA’s technology-centric group show \u003ci>\u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener noreferrer\">The Body Electric\u003c/a>\u003c/i>, \u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">11am and 1pm screenings\u003c/a> of Nicole Miller’s \u003ci>To The Stars\u003c/i> at SFMOMA, and \u003ca href=\"https://www.thecjm.org/exhibitions/109\" target=\"_blank\" rel=\"noopener noreferrer\">Annabeth Rosen’s magnificent survey\u003c/a> of ceramic work at the CJM.\u003c/p>\n\u003cp>Skip out of work early, take a long lunch break, do what you have to do to soak up as much art and culture as you can this Thursday. Here’s the list of major institutions and their (often extended) hours:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://bookbindersmuseum.org/culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">American Bookbinders Museum\u003c/a>\u003c/strong>: Free 10am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003c/strong>: Free 11am–5pm with \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1829\" target=\"_blank\" rel=\"noopener noreferrer\">a talk at 6:30pm\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Creativity Museum\u003c/a>\u003c/strong>: Free 10am–7pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>: Free 11am–9pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://crownpoint.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Point Press\u003c/a>\u003c/strong>: Open 10am–8pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://www.mirusgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirus Gallery\u003c/a>\u003c/strong>: Open 12–9pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/culture-for-community-free-day/?instance_id=15532\" target=\"_blank\" rel=\"noopener noreferrer\">MoAD\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SFMOMA\u003c/strong>\u003c/a>: Free 10am–9pm (\u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.spur.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SPUR\u003c/a>\u003c/strong>: Open 9am–7:30pm with a \u003ca href=\"https://www.spur.org/events/2019-09-19/what-urban-design-can-learn-senior-design\" target=\"_blank\" rel=\"noopener noreferrer\">talk at 6pm\u003c/a> (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybca.org/event/third-thursday-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/ricardo-lemvo-2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Gardens Festival\u003c/a>\u003c/strong>: Performance by Ricardo Lemvo, 6–7:30pm\u003c/li>\n\u003cli>\u003ca href=\"https://111minnagallery.com/event/yerba-buena-3rd-thursdays-presents-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>111 Minna\u003c/strong>\u003c/a>: Open 7am–9pm (always free)\u003c/li>\n\u003c/ul>\n\u003cp>See the full list of participating spaces \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\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": "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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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