A Family Tradition of Altar Making, As Told by Rio Yañez
60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA
YBCA’s ‘Pedagogy of Hope’ is a Fierce Call to Uncage, Reunify and Heal Migrant Children
How Yolanda López Changed Chicanx Art Forever
Layers of Meaning with Visual Artist Paola de la Calle
René Yañez, Revered Chicano Artist and Gallery Founder, Dies
Flipping the Narrative of the Undocumented from Pain to Joy
Foundation Awards $500,000 to Local Orgs for Public Artworks
Will Ed Lee be Remembered as an Arts Advocate? It's Complicated
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"content": "\u003cp>\u003cspan style=\"font-weight: 400;\">At the heart of Día de los Muertos is a celebration of the cycle of life. It’s a time to talk with our dead. We sing to them, prepare altars with flower and food offerings, and share stories to keep their memories alive. It’s both a sacred and joyous time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Here in the Bay Area, we go all out for the tradition. Elaborate public altars are constructed in \u003c/span>\u003ca href=\"https://www.dayofthedeadsf.org/\">\u003cspan style=\"font-weight: 400;\">parks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, schools, and \u003ca href=\"https://www.schoolofartsandculture.org/events/2019/11/2/avenida-de-altares-amp-cumbia-g7kzt-82smw\">community spaces\u003c/a>. Museums and \u003c/span>\u003ca href=\"https://richmondartcenter.org/exhibitions/de-fantasias-y-realidades/\">\u003cspan style=\"font-weight: 400;\">galleries\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> have exhibits with Day of the Dead themed art and \u003ca href=\"https://missionculturalcenter.org/event/day-of-the-dead-events/\">installations\u003c/a>. It’s truly a moment of visibility for Latino and Latinx culture and tradition.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">But it wasn’t always this way in the Bay Area or the United States, for that matter. To shed light on the history of how Day of the Dead became such a significant tradition in San Francisco, we are talking to artist and curator Rio Yañez.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg\" alt=\"A polaroid photo of young Rio Yañez holding a comic book and embraced by his father Rene.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and son, Rene and Rio Yañez co-curated Day of the Dead Altar exhibits at SOMArts until Rene’s passing. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">His father, \u003c/span>\u003ca href=\"https://rioyanez.com/\">\u003cspan style=\"font-weight: 400;\">Rene Yañez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, is credited with helping start the Day of the Dead procession that runs through the Mission. The procession (now in its 41st year) started in 1981 and was an extension of the curatorial and educational work Rene Yañez and other Chicano/Latino artists were doing at \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de La Raza\u003c/a> to educate the community about Dia de los Muertos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio carries the legacy forward by continuing to curate annual Day of the Dead altar exhibits that his father, Rene, started at SOMArts. In doing so, he also continues his parents’ work of mentoring younger artists. Now in its 23rd year at \u003ca href=\"https://somarts.org/\">SOMArts\u003c/a>, this year’s Day of the Dead show is titled, “\u003ca href=\"https://somarts.org/event/toloveandbeloved/\">To Love and Be Loved in Return\u003c/a>,” and invites viewers to collectively grieve and heal. The exhibit is open through November 4th and can also be viewed \u003ca href=\"https://somarts.org/toloveandbeloved-virtual/\">virtually\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921007\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921007 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg\" alt=\"A light up lantern sculpture made with papel picado cut outs. Patterns include hummingbirds and hearts. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1920x1920.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead altar sculpture at SOMArts by Victor-Mario Zaballa. \u003ccite>(Marisol Medina-Cadena/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3684311534&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3sD5yV6\">Read the podcast transcript\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of my conversation with Rio Yañez\u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Do you remember your earliest memory of celebrating Day of the Dead in San Francisco? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: It would probably be watching my dad assemble an altar at Galeria de la Raza on 24th and Bryant Street here in San Francisco in an art gallery that he was the creative director of. I just remember sitting on the carpet of the gallery and looking at my dad assemble it and I was so little. It was probably before I could walk. So it just seemed like he was putting together some sort of like puzzle or some sort of like sculpture. I just remember the colors! It was black and white and then these, like, pastel purples. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Growing up, do you remember any conversations with your mom? Like when she was teaching you the tradition, creating a home altar… Was there any explicit conversation about, oh, “the way we do it here in California, in San Francisco isn’t necessarily the way it’s done in Mexico”? For example, like we don’t spend the night in cemeteries… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: I think it’s always been for my family, and I think really the roots of it in San Francisco have always been very Mexican-American, without the pretense of doing like a super “authentic,” you know, replication of what’s being practiced in Mexico. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">To me… the procession, the altars, the art exhibits like it, it’s very 2nd generation. It’s very Mexican-American. I think it’s always been about kind of making something that’s our own and not necessarily just trying to duplicate something. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Separate from your curatorial artistic practice. I’m just curious for your home altar or your private altar. What are some of the things you’re going to put on your altar for your parents and why? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: So for my dad, outside of being a curator, when he would get home, he just loved to draw in his sketchbooks. And, you know, his routine was just always to brew a cup of coffee and roll a joint and work at his sketchbook. And so art supplies coffee and a little bit of mota is always what I leave out for him. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: For my mom… I left out some of her favorite CDs in in our altar and photographs of her uncle, who is the reason why she came to the Bay Area in the first place. Even in grief, having lost both of my parents in the recent years, there’s just a lot of joy in making these things and sharing them with them for the night. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">At the heart of Día de los Muertos is a celebration of the cycle of life. It’s a time to talk with our dead. We sing to them, prepare altars with flower and food offerings, and share stories to keep their memories alive. It’s both a sacred and joyous time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Here in the Bay Area, we go all out for the tradition. Elaborate public altars are constructed in \u003c/span>\u003ca href=\"https://www.dayofthedeadsf.org/\">\u003cspan style=\"font-weight: 400;\">parks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, schools, and \u003ca href=\"https://www.schoolofartsandculture.org/events/2019/11/2/avenida-de-altares-amp-cumbia-g7kzt-82smw\">community spaces\u003c/a>. Museums and \u003c/span>\u003ca href=\"https://richmondartcenter.org/exhibitions/de-fantasias-y-realidades/\">\u003cspan style=\"font-weight: 400;\">galleries\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> have exhibits with Day of the Dead themed art and \u003ca href=\"https://missionculturalcenter.org/event/day-of-the-dead-events/\">installations\u003c/a>. It’s truly a moment of visibility for Latino and Latinx culture and tradition.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">But it wasn’t always this way in the Bay Area or the United States, for that matter. To shed light on the history of how Day of the Dead became such a significant tradition in San Francisco, we are talking to artist and curator Rio Yañez.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg\" alt=\"A polaroid photo of young Rio Yañez holding a comic book and embraced by his father Rene.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and son, Rene and Rio Yañez co-curated Day of the Dead Altar exhibits at SOMArts until Rene’s passing. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">His father, \u003c/span>\u003ca href=\"https://rioyanez.com/\">\u003cspan style=\"font-weight: 400;\">Rene Yañez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, is credited with helping start the Day of the Dead procession that runs through the Mission. The procession (now in its 41st year) started in 1981 and was an extension of the curatorial and educational work Rene Yañez and other Chicano/Latino artists were doing at \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de La Raza\u003c/a> to educate the community about Dia de los Muertos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio carries the legacy forward by continuing to curate annual Day of the Dead altar exhibits that his father, Rene, started at SOMArts. In doing so, he also continues his parents’ work of mentoring younger artists. Now in its 23rd year at \u003ca href=\"https://somarts.org/\">SOMArts\u003c/a>, this year’s Day of the Dead show is titled, “\u003ca href=\"https://somarts.org/event/toloveandbeloved/\">To Love and Be Loved in Return\u003c/a>,” and invites viewers to collectively grieve and heal. The exhibit is open through November 4th and can also be viewed \u003ca href=\"https://somarts.org/toloveandbeloved-virtual/\">virtually\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921007\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921007 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg\" alt=\"A light up lantern sculpture made with papel picado cut outs. Patterns include hummingbirds and hearts. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1920x1920.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead altar sculpture at SOMArts by Victor-Mario Zaballa. \u003ccite>(Marisol Medina-Cadena/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3684311534&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3sD5yV6\">Read the podcast transcript\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of my conversation with Rio Yañez\u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Do you remember your earliest memory of celebrating Day of the Dead in San Francisco? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: It would probably be watching my dad assemble an altar at Galeria de la Raza on 24th and Bryant Street here in San Francisco in an art gallery that he was the creative director of. I just remember sitting on the carpet of the gallery and looking at my dad assemble it and I was so little. It was probably before I could walk. So it just seemed like he was putting together some sort of like puzzle or some sort of like sculpture. I just remember the colors! It was black and white and then these, like, pastel purples. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Growing up, do you remember any conversations with your mom? Like when she was teaching you the tradition, creating a home altar… Was there any explicit conversation about, oh, “the way we do it here in California, in San Francisco isn’t necessarily the way it’s done in Mexico”? For example, like we don’t spend the night in cemeteries… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: I think it’s always been for my family, and I think really the roots of it in San Francisco have always been very Mexican-American, without the pretense of doing like a super “authentic,” you know, replication of what’s being practiced in Mexico. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">To me… the procession, the altars, the art exhibits like it, it’s very 2nd generation. It’s very Mexican-American. I think it’s always been about kind of making something that’s our own and not necessarily just trying to duplicate something. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Separate from your curatorial artistic practice. I’m just curious for your home altar or your private altar. What are some of the things you’re going to put on your altar for your parents and why? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: So for my dad, outside of being a curator, when he would get home, he just loved to draw in his sketchbooks. And, you know, his routine was just always to brew a cup of coffee and roll a joint and work at his sketchbook. And so art supplies coffee and a little bit of mota is always what I leave out for him. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: For my mom… I left out some of her favorite CDs in in our altar and photographs of her uncle, who is the reason why she came to the Bay Area in the first place. Even in grief, having lost both of my parents in the recent years, there’s just a lot of joy in making these things and sharing them with them for the night. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. [aside postid='arts_13913890']\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\n\u003cp>https://youtu.be/AGMXdl9Rjq0\u003c/p>\n\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. [aside postid='arts_13914743']\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\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/AGMXdl9Rjq0'\n title='//www.youtube.com/embed/AGMXdl9Rjq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "YBCA’s ‘Pedagogy of Hope’ is a Fierce Call to Uncage, Reunify and Heal Migrant Children",
"headTitle": "YBCA’s ‘Pedagogy of Hope’ is a Fierce Call to Uncage, Reunify and Heal Migrant Children | KQED",
"content": "\u003cp>Art and activism have often been used as tools to aid one another to demand the same outcome: change.\u003c/p>\n\u003cp>By raising awareness around social topics and political injustices, both artists and activists can illuminate otherwise overlooked topics through intense engagement, factual information and imaginative provocation. This powerful synthesis is even more striking when marginalized groups become the central focus of these efforts, presenting the audience with a call to action for those in need.\u003c/p>\n\u003cp>Such is the experience at the Galería de la Raza-organized show \u003cem>\u003ca href=\"https://ybca.org/event/pedagogy-of-hope-en/\" rel=\"noopener noreferrer\" target=\"_blank\">Pedagogy of Hope: Uncage, Reunify, Heal\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, an exhibit that explores the painful subject of detained undocumented migrant children in the United States. \u003c/p>\n\u003cp>The exhibition is rooted in \u003ca href=\"https://carecensf.org/actions/caravan-for-the-children/\" rel=\"noopener noreferrer\" target=\"_blank\">Caravan for the Children\u003c/a>, a nationwide “100-day effort to demand the release, reunification and healing of migrant children still being held in ICE custody across the country,” that launched in 2021. \u003cem>Pedagogy of Hope\u003c/em> is an outgrowth of that fight for justice in the wake of the brutally inhumane immigration practices enacted by the 2018 Zero Tolerance Policy, its lasting effects and continued separations. The artists at YBCA convey the urgency of this matter in a creative way, utilizing poetry, textiles, sound and memory to galvanize viewers into political agitation.\u003c/p>\n\u003cfigure id=\"attachment_13912638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038.jpg\" alt=\"Gallery view with large photograph of capitol with flags flying in front of it.\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13912638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-1920x1279.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Last year, a coalition of Bay Area organizers and advocates marched to the Tijuana border and Washington, D.C. Documentation on view in ‘Pedagogy of Hope’ at YBCA. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far from being a static exhibit, the display of multidisciplinary art and sociohistorical context encourages viewers to not only consider the harsh realities of U.S. political violence, but to act against them. For instance, the curators, Ivette Diaz and Ani Rivera from Galería de la Raza, directly invite visitors to exert their political agency by writing postcards to the U.S. Department of Homeland Security. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We want the children to hear this and know they are not alone. That we see them, we hear them, and that we are fighting for them,” reads a quote from \u003ca href=\"http://eltecolote.org/content/en/maria-x-martinez-august-9-1954-july-15-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Maria X. Martinez\u003c/a>, a San Francisco-based public health activist who passed away in 2020.\u003c/p>\n\u003cp>[aside postID='arts_13911973']The main attraction features five handmade quilts from Colombian-American artist, Paola de la Calle, that drape from the ceiling to the floor, with images of butterflies, backpacks, toys and family photos. Embroidered on each blanket are fragments of poetry from 10 Latinx writers, including Edyka Chilomé, \u003ca href=\"https://www.kqed.org/arts/13911973/kevin-madrigal-galindo-bittersweet-national-poetry-month\" rel=\"noopener noreferrer\" target=\"_blank\">Kevin Madrigal Galindo\u003c/a>, Ruben Reyes Jr., Freddy Jesse Izaguirre and Oswaldo Vargas.\u003c/p>\n\u003cp>The installations measure a combined 630 square feet of sewn fabric, each square foot representing one child as a symbolic gesture to honor the 630 migrant children who were still separated when Caravan for the Children initiated their campaign.\u003c/p>\n\u003cfigure id=\"attachment_13912647\" class=\"wp-caption aligncenter\" style=\"max-width: 1332px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036.jpg\" alt=\"A mostly blue quilt with images of hands and kites and embroidered text\" width=\"1332\" height=\"2000\" class=\"size-full wp-image-13912647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-1023x1536.jpg 1023w\" sizes=\"(max-width: 1332px) 100vw, 1332px\">\u003cfigcaption class=\"wp-caption-text\">One of Paola de la Calle’s handmade quilts in ‘Pedagogy of Hope.’ \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the excerpts of poetry, tones range from outrage and horror to hope and determination. Vargas’ poem, “how to tell a border story” underscores the absurdity of migrant children having to represent themselves in immigration court, while Madrigal’s work, “Love/Craft” imagines a group of children returning home to their families and “dark, brown, earthen soil.” The raw spectrum of feelings fits the subject matter, addressing the struggle of children who have been separated from their families and withheld from their communities, while also alluding to their innocence. The show balances a critical sense of revolt at the present situation while maintaining optimism towards the future. Importantly, the exhibit also reminds us that these struggles are not new.\u003c/p>\n\u003cp>The outer walls of the entire second-floor gallery provide an extensive look at the scope of U.S. immigration practices, beginning with the Nationality Act of 1790 (the first law to define eligibility for citizenship by which immigrants became U.S. citizens) and ending with the Interagency Task Force for the Reunification of Families in February 2021. \u003c/p>\n\u003cp>It’s a dense, but necessary examination of how the issues of 2022 do not exist in a vacuum. Instead, today’s detained migrant children are the latest targets of state violence, xenophobia and exclusion in this nation’s history. Each installment on the timeline—which wraps around two separate walls, one entirely in Spanish, the other in English—serves to inform viewers while indirectly condemning governmental enforcement that separates lives based on racial quotas, partisan division and imperialistic borders.\u003c/p>\n\u003cfigure id=\"attachment_13912650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026.jpg\" alt=\"View of orange timeline wrapping around walls covered with dates, images and text\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13912650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-1920x1279.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Galeria La Raza’s exhibit displays the timeline of U.S. immigration practices in both Spanish and English at YBCA. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who benefits from the privilege of U.S. and Mexican citizenship, but who has lived with undocmented immigrants experiencing deportations and family separations, \u003cem>Pedagogy of Hope\u003c/em> reminds me about the necessity of visibility and communal strength—as well as the need for unification and solidarity across various audiences. \u003c/p>\n\u003cp>The artists and activists in this show demonstrate the necessity of taking action in whatever way we are able to. By making it easier for visitors to \u003ca href=\"https://carecensf.org/actions/caravan-for-the-children/\" rel=\"noopener noreferrer\" target=\"_blank\">donate\u003c/a>, \u003ca href=\"https://twitter.com/intent/tweet?text=%40DHS%20we%20call%20on%20you%20to%20prioritize%20and%20expedite%20%20%23UncageReUnifyHeal%20the%20children%20separated%20from%20family%20and%20still%20being%20held%20by%20ICE%20within%20the%201st%20100%20days%20of%20the%20Biden%20Administration.&original_referer=https://clicktotweet.com&related=clicktotweet\" rel=\"noopener noreferrer\" target=\"_blank\">reach out to the Department of Homeland Security\u003c/a>, or simply educate others on the issues, \u003cem>Pedagogy of Hope\u003c/em> is a galvanizing display of humanity and compassion that transcends YBCA’s walls. By attempting to put power back into the hands of the public in order to support migrant children who are still in need, the show offers up a pedagogy of love we should all heed. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Pedagogy of Hope: Uncage, Reunify, Heal’ is on view at YBCA through May 29. \u003ca href=\"https://ybca.org/event/pedagogy-of-hope-en/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art and activism have often been used as tools to aid one another to demand the same outcome: change.\u003c/p>\n\u003cp>By raising awareness around social topics and political injustices, both artists and activists can illuminate otherwise overlooked topics through intense engagement, factual information and imaginative provocation. This powerful synthesis is even more striking when marginalized groups become the central focus of these efforts, presenting the audience with a call to action for those in need.\u003c/p>\n\u003cp>Such is the experience at the Galería de la Raza-organized show \u003cem>\u003ca href=\"https://ybca.org/event/pedagogy-of-hope-en/\" rel=\"noopener noreferrer\" target=\"_blank\">Pedagogy of Hope: Uncage, Reunify, Heal\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, an exhibit that explores the painful subject of detained undocumented migrant children in the United States. \u003c/p>\n\u003cp>The exhibition is rooted in \u003ca href=\"https://carecensf.org/actions/caravan-for-the-children/\" rel=\"noopener noreferrer\" target=\"_blank\">Caravan for the Children\u003c/a>, a nationwide “100-day effort to demand the release, reunification and healing of migrant children still being held in ICE custody across the country,” that launched in 2021. \u003cem>Pedagogy of Hope\u003c/em> is an outgrowth of that fight for justice in the wake of the brutally inhumane immigration practices enacted by the 2018 Zero Tolerance Policy, its lasting effects and continued separations. The artists at YBCA convey the urgency of this matter in a creative way, utilizing poetry, textiles, sound and memory to galvanize viewers into political agitation.\u003c/p>\n\u003cfigure id=\"attachment_13912638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038.jpg\" alt=\"Gallery view with large photograph of capitol with flags flying in front of it.\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13912638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_038-1920x1279.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Last year, a coalition of Bay Area organizers and advocates marched to the Tijuana border and Washington, D.C. Documentation on view in ‘Pedagogy of Hope’ at YBCA. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far from being a static exhibit, the display of multidisciplinary art and sociohistorical context encourages viewers to not only consider the harsh realities of U.S. political violence, but to act against them. For instance, the curators, Ivette Diaz and Ani Rivera from Galería de la Raza, directly invite visitors to exert their political agency by writing postcards to the U.S. Department of Homeland Security. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We want the children to hear this and know they are not alone. That we see them, we hear them, and that we are fighting for them,” reads a quote from \u003ca href=\"http://eltecolote.org/content/en/maria-x-martinez-august-9-1954-july-15-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Maria X. Martinez\u003c/a>, a San Francisco-based public health activist who passed away in 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The main attraction features five handmade quilts from Colombian-American artist, Paola de la Calle, that drape from the ceiling to the floor, with images of butterflies, backpacks, toys and family photos. Embroidered on each blanket are fragments of poetry from 10 Latinx writers, including Edyka Chilomé, \u003ca href=\"https://www.kqed.org/arts/13911973/kevin-madrigal-galindo-bittersweet-national-poetry-month\" rel=\"noopener noreferrer\" target=\"_blank\">Kevin Madrigal Galindo\u003c/a>, Ruben Reyes Jr., Freddy Jesse Izaguirre and Oswaldo Vargas.\u003c/p>\n\u003cp>The installations measure a combined 630 square feet of sewn fabric, each square foot representing one child as a symbolic gesture to honor the 630 migrant children who were still separated when Caravan for the Children initiated their campaign.\u003c/p>\n\u003cfigure id=\"attachment_13912647\" class=\"wp-caption aligncenter\" style=\"max-width: 1332px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036.jpg\" alt=\"A mostly blue quilt with images of hands and kites and embroidered text\" width=\"1332\" height=\"2000\" class=\"size-full wp-image-13912647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_036-1023x1536.jpg 1023w\" sizes=\"(max-width: 1332px) 100vw, 1332px\">\u003cfigcaption class=\"wp-caption-text\">One of Paola de la Calle’s handmade quilts in ‘Pedagogy of Hope.’ \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the excerpts of poetry, tones range from outrage and horror to hope and determination. Vargas’ poem, “how to tell a border story” underscores the absurdity of migrant children having to represent themselves in immigration court, while Madrigal’s work, “Love/Craft” imagines a group of children returning home to their families and “dark, brown, earthen soil.” The raw spectrum of feelings fits the subject matter, addressing the struggle of children who have been separated from their families and withheld from their communities, while also alluding to their innocence. The show balances a critical sense of revolt at the present situation while maintaining optimism towards the future. Importantly, the exhibit also reminds us that these struggles are not new.\u003c/p>\n\u003cp>The outer walls of the entire second-floor gallery provide an extensive look at the scope of U.S. immigration practices, beginning with the Nationality Act of 1790 (the first law to define eligibility for citizenship by which immigrants became U.S. citizens) and ending with the Interagency Task Force for the Reunification of Families in February 2021. \u003c/p>\n\u003cp>It’s a dense, but necessary examination of how the issues of 2022 do not exist in a vacuum. Instead, today’s detained migrant children are the latest targets of state violence, xenophobia and exclusion in this nation’s history. Each installment on the timeline—which wraps around two separate walls, one entirely in Spanish, the other in English—serves to inform viewers while indirectly condemning governmental enforcement that separates lives based on racial quotas, partisan division and imperialistic borders.\u003c/p>\n\u003cfigure id=\"attachment_13912650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026.jpg\" alt=\"View of orange timeline wrapping around walls covered with dates, images and text\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13912650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220416_galerialaraza_Yamada_026-1920x1279.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Galeria La Raza’s exhibit displays the timeline of U.S. immigration practices in both Spanish and English at YBCA. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who benefits from the privilege of U.S. and Mexican citizenship, but who has lived with undocmented immigrants experiencing deportations and family separations, \u003cem>Pedagogy of Hope\u003c/em> reminds me about the necessity of visibility and communal strength—as well as the need for unification and solidarity across various audiences. \u003c/p>\n\u003cp>The artists and activists in this show demonstrate the necessity of taking action in whatever way we are able to. By making it easier for visitors to \u003ca href=\"https://carecensf.org/actions/caravan-for-the-children/\" rel=\"noopener noreferrer\" target=\"_blank\">donate\u003c/a>, \u003ca href=\"https://twitter.com/intent/tweet?text=%40DHS%20we%20call%20on%20you%20to%20prioritize%20and%20expedite%20%20%23UncageReUnifyHeal%20the%20children%20separated%20from%20family%20and%20still%20being%20held%20by%20ICE%20within%20the%201st%20100%20days%20of%20the%20Biden%20Administration.&original_referer=https://clicktotweet.com&related=clicktotweet\" rel=\"noopener noreferrer\" target=\"_blank\">reach out to the Department of Homeland Security\u003c/a>, or simply educate others on the issues, \u003cem>Pedagogy of Hope\u003c/em> is a galvanizing display of humanity and compassion that transcends YBCA’s walls. By attempting to put power back into the hands of the public in order to support migrant children who are still in need, the show offers up a pedagogy of love we should all heed. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Pedagogy of Hope: Uncage, Reunify, Heal’ is on view at YBCA through May 29. \u003ca href=\"https://ybca.org/event/pedagogy-of-hope-en/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Yolanda López Changed Chicanx Art Forever",
"headTitle": "How Yolanda López Changed Chicanx Art Forever | KQED",
"content": "\u003cp>Yolanda López, the celebrated Chicana artist and longtime Mission District resident, pioneered new representations of the Chicanx community throughout decades of work in painting, photography and graphic design. Reproductions of her images became iconic symbols of the Chicano movement, in accordance with her belief that art should serve the people.\u003c/p>\n\u003cp>She died from complications of liver cancer on Sept. 3 at age 79.\u003c/p>\n\u003cp>“Yolanda was a critical thinker. Outrageously brilliant and revolutionary feminist. Outstanding public intellectual. Painter, draftswoman, installation artist, writer, illustrator, political activist,” says Juana Alicia, an artist and one of Lopez’s close friends.\u003c/p>\n\u003cp>Born in San Diego to a working-class family, López moved to the Bay Area for college in the ’60s, and spent the rest of the decade participating in the social justice movements that rocked the nation. In the Mission, she became involved with the Third World Liberation Front’s fight for ethnic studies departments and the Los Siete movement’s agitation for the release of seven Chicano men accused of killing a white police officer.[aside postID='arts_12158966']\u003c/p>\n\u003cp>Her political awakening was also her artistic awakening: she learned how to create punchy images from Emory Douglas, the Black Panther Party’s Minister of Culture, and pressed her talent into service by illustrating \u003cem>¡Basta Ya!\u003c/em>, a radical Mission community newspaper.\u003c/p>\n\u003cfigure id=\"attachment_13903269\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg\" alt=\"A black-and-white print with faces seen through stripes of American flag.\" width=\"1736\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-800x1180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1020x1504.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-768x1133.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1041x1536.jpg 1041w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1389x2048.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1920x2832.jpg 1920w\" sizes=\"(max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Free Los Siete,’ 1969. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-’70s, feeling burnt out and alienated from activism, López enrolled in a MFA program at the University of California, San Diego, where she would have the time and resources to make her most famous work. Under the influence of conceptual artist professors like Martha Rosler and Allan Sekula, López began to incorporate and repurpose images drawn from popular culture for political purposes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One example of her mature style was \u003cem>Who’s the Illegal Alien, Pilgrim?\u003c/em> The poster, originally commissioned by the Committee on Chicano Rights, depicts a Chicano man in Aztec garb holding immigration papers in one hand and pointing at the viewer with the other, in an ironic mirroring of Uncle Sam’s famous pose.\u003c/p>\n\u003cp>Ani Rivera, the executive director of Latinx-centered art gallery Galería de la Raza, recalls seeing that poster reproduced and plastered on the wall of her elementary school in San Diego. “I remember seeing that and completely having a visceral reaction. Growing up during Reaganomics, during the harsh political rhetoric impacting our community … to see an image of power [like that] … it just lit up my belly,” Rivera says. “It was a moment of finding my voice, of learning I could demand the same and question.”\u003c/p>\n\u003cfigure id=\"attachment_13903268\" class=\"wp-caption aligncenter\" style=\"max-width: 1672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/9.Illegal_Alien.jpg\" alt=\"\" width=\"1672\" height=\"2100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien.jpg 1672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1631x2048.jpg 1631w\" sizes=\"(max-width: 1672px) 100vw, 1672px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Who’s the Illegal Alien, Pilgrim?,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López’s most provocative and renowned body of work, however, was her exploration of the Virgin of Guadalupe figure.\u003c/p>\n\u003cp>The artist explained what drew her to the Virgin in a 1993 interview for the journal \u003cem>CrossRoads\u003c/em>: “In 1978 there were no images of Latinos and Chicanos in mass media. As for movement media, the Virgin of Guadalupe was the most prevalent, continuous image of women (whereas there was a variety of male images—César Chávez, Zapata, a pantheon of male figures).”\u003c/p>\n\u003cp>To examine how the image portrayed and confined Chicana femininity, she painted three large canvases depicting the Virgin as herself, her mother and her grandmother. It was the first painting, depicting López running in the Virgin’s garments, that became, according to Museum of Contemporary Art San Diego curator Jill Dawsey, “one of the most widely reproduced and circulated images in the history of Chicanx art.”\u003c/p>\n\u003cfigure id=\"attachment_13903270\" class=\"wp-caption aligncenter\" style=\"max-width: 1906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/3.L%C3%B3pez_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg\" alt=\"\" width=\"1906\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg 1906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-800x1075.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1020x1370.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-768x1032.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1144x1536.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1525x2048.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1920x2579.jpg 1920w\" sizes=\"(max-width: 1906px) 100vw, 1906px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Portrait of the Artist as Virgin of Guadalupe,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López, along with \u003ca href=\"https://patssivaldez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Patssi Valdez\u003c/a> and \u003ca href=\"https://esterhernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ester Hernandez\u003c/a>, was one of the earliest Chicana artists to reclaim the Virgin as a feminist symbol. The Virgin’s heavy robes, which usually seem to weigh her down, are cut at the knee, allowing her to leap out of her mandorla and shake off the male angel at her feet.\u003c/p>\n\u003cp>Asked in 2007 by Chicana/o studies professor Karen Mary Davalos why that piece in particular became a touchstone for generations of Chicana activists, López mused, “Because it’s exuberant, and I don’t think there are many exuberant pictures of us within the Chicano visual library.”\u003c/p>\n\u003cp>After the completion of her MFA degree, López returned to the Bay Area in the ’80s, teaching at the UC Berkeley, Mills College and California College of the Arts, and regularly exhibiting her work in group shows and the Mission’s Galería de la Raza.\u003c/p>\n\u003cp>After the birth of her son with fellow artist \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener noreferrer\">René Yañez\u003c/a>, she turned away from painting—she had limited time as a working mother—and towards photography, performances and large-scale installation. Works from this time period include \u003cem>Things I Never Told My Son About Being a Mexican\u003c/em>, an installation of found children’s objects with stereotypical depictions of Mexican people on them, and the \u003cem>Life in the Mission\u003c/em> series, a collection of photographs of daily life in her neighborhood.\u003c/p>\n\u003cp>[aside postID='arts_10138520']Her dedication to politically charged art never abated. She captured headlines in 2014 when she turned her eviction from her Mission apartment of 40 years into “garage sale” performances-slash-protests held at Galería and Red Poppy Art House. (Galería de la Raza itself \u003ca href=\"https://missionlocal.org/2018/12/evicted-galeria-de-la-raza-lands-on-valencia-street/\">was evicted\u003c/a> from its longtime building in 2018.)\u003c/p>\n\u003cp>Despite her long career as a major Chicana artist, López was only irregularly acknowledged by the art world at large. Her upcoming exhibition at the Museum of Contemporary Art San Diego, \u003cem>\u003ca href=\"https://www.mcasd.org/exhibitions/yolanda-l%C3%B3pez-portrait-artist\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López: Portrait of the Artist\u003c/a>\u003c/em>, is the first solo museum exhibition of her work in her entire career.\u003c/p>\n\u003cp>“It took almost five decades to get this type of recognition of her work that she fought for,” says Rivera. “She nurtured so many of us. That’s why organizations like the Galería were created, we felt that we needed to create spaces that celebrated and honored alternative voices. The fact that it’s taken this long to have major museums open up their doors is just atrocious.”\u003c/p>\n\u003cp>Dawsey, the curator behind \u003cem>Portrait of the Artist\u003c/em>, says, “Yolanda was ignored by [the institutional art] world, but she also didn’t seek approval from that world. Her primary audience was always the Chicanx community … she was first and foremost committed to her politics.”\u003c/p>\n\u003cp>And the community gives back: a mural dedicated to her \u003ca href=\"https://missionlocal.org/2021/06/new-mural-honor-chicana-artist-yolanda-lopez-and-pay-homage-to-bay-area-solidarity-movements/\">is now up\u003c/a> near Folsom and 16th Street, and commemorative posters with her image can be spotted taped up on Mission storefronts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The same things Yolanda was talking about 50 years ago, we’re still dealing with them now,” says Rivera, who helped advocate for the mural. “What I feel excited about is that there’s a whole new generation that’s getting to know her work at a really important time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yolanda López, the celebrated Chicana artist and longtime Mission District resident, pioneered new representations of the Chicanx community throughout decades of work in painting, photography and graphic design. Reproductions of her images became iconic symbols of the Chicano movement, in accordance with her belief that art should serve the people.\u003c/p>\n\u003cp>She died from complications of liver cancer on Sept. 3 at age 79.\u003c/p>\n\u003cp>“Yolanda was a critical thinker. Outrageously brilliant and revolutionary feminist. Outstanding public intellectual. Painter, draftswoman, installation artist, writer, illustrator, political activist,” says Juana Alicia, an artist and one of Lopez’s close friends.\u003c/p>\n\u003cp>Born in San Diego to a working-class family, López moved to the Bay Area for college in the ’60s, and spent the rest of the decade participating in the social justice movements that rocked the nation. In the Mission, she became involved with the Third World Liberation Front’s fight for ethnic studies departments and the Los Siete movement’s agitation for the release of seven Chicano men accused of killing a white police officer.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her political awakening was also her artistic awakening: she learned how to create punchy images from Emory Douglas, the Black Panther Party’s Minister of Culture, and pressed her talent into service by illustrating \u003cem>¡Basta Ya!\u003c/em>, a radical Mission community newspaper.\u003c/p>\n\u003cfigure id=\"attachment_13903269\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg\" alt=\"A black-and-white print with faces seen through stripes of American flag.\" width=\"1736\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-800x1180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1020x1504.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-768x1133.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1041x1536.jpg 1041w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1389x2048.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1920x2832.jpg 1920w\" sizes=\"(max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Free Los Siete,’ 1969. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-’70s, feeling burnt out and alienated from activism, López enrolled in a MFA program at the University of California, San Diego, where she would have the time and resources to make her most famous work. Under the influence of conceptual artist professors like Martha Rosler and Allan Sekula, López began to incorporate and repurpose images drawn from popular culture for political purposes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One example of her mature style was \u003cem>Who’s the Illegal Alien, Pilgrim?\u003c/em> The poster, originally commissioned by the Committee on Chicano Rights, depicts a Chicano man in Aztec garb holding immigration papers in one hand and pointing at the viewer with the other, in an ironic mirroring of Uncle Sam’s famous pose.\u003c/p>\n\u003cp>Ani Rivera, the executive director of Latinx-centered art gallery Galería de la Raza, recalls seeing that poster reproduced and plastered on the wall of her elementary school in San Diego. “I remember seeing that and completely having a visceral reaction. Growing up during Reaganomics, during the harsh political rhetoric impacting our community … to see an image of power [like that] … it just lit up my belly,” Rivera says. “It was a moment of finding my voice, of learning I could demand the same and question.”\u003c/p>\n\u003cfigure id=\"attachment_13903268\" class=\"wp-caption aligncenter\" style=\"max-width: 1672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/9.Illegal_Alien.jpg\" alt=\"\" width=\"1672\" height=\"2100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien.jpg 1672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1631x2048.jpg 1631w\" sizes=\"(max-width: 1672px) 100vw, 1672px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Who’s the Illegal Alien, Pilgrim?,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López’s most provocative and renowned body of work, however, was her exploration of the Virgin of Guadalupe figure.\u003c/p>\n\u003cp>The artist explained what drew her to the Virgin in a 1993 interview for the journal \u003cem>CrossRoads\u003c/em>: “In 1978 there were no images of Latinos and Chicanos in mass media. As for movement media, the Virgin of Guadalupe was the most prevalent, continuous image of women (whereas there was a variety of male images—César Chávez, Zapata, a pantheon of male figures).”\u003c/p>\n\u003cp>To examine how the image portrayed and confined Chicana femininity, she painted three large canvases depicting the Virgin as herself, her mother and her grandmother. It was the first painting, depicting López running in the Virgin’s garments, that became, according to Museum of Contemporary Art San Diego curator Jill Dawsey, “one of the most widely reproduced and circulated images in the history of Chicanx art.”\u003c/p>\n\u003cfigure id=\"attachment_13903270\" class=\"wp-caption aligncenter\" style=\"max-width: 1906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/3.L%C3%B3pez_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg\" alt=\"\" width=\"1906\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg 1906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-800x1075.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1020x1370.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-768x1032.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1144x1536.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1525x2048.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1920x2579.jpg 1920w\" sizes=\"(max-width: 1906px) 100vw, 1906px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Portrait of the Artist as Virgin of Guadalupe,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López, along with \u003ca href=\"https://patssivaldez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Patssi Valdez\u003c/a> and \u003ca href=\"https://esterhernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ester Hernandez\u003c/a>, was one of the earliest Chicana artists to reclaim the Virgin as a feminist symbol. The Virgin’s heavy robes, which usually seem to weigh her down, are cut at the knee, allowing her to leap out of her mandorla and shake off the male angel at her feet.\u003c/p>\n\u003cp>Asked in 2007 by Chicana/o studies professor Karen Mary Davalos why that piece in particular became a touchstone for generations of Chicana activists, López mused, “Because it’s exuberant, and I don’t think there are many exuberant pictures of us within the Chicano visual library.”\u003c/p>\n\u003cp>After the completion of her MFA degree, López returned to the Bay Area in the ’80s, teaching at the UC Berkeley, Mills College and California College of the Arts, and regularly exhibiting her work in group shows and the Mission’s Galería de la Raza.\u003c/p>\n\u003cp>After the birth of her son with fellow artist \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener noreferrer\">René Yañez\u003c/a>, she turned away from painting—she had limited time as a working mother—and towards photography, performances and large-scale installation. Works from this time period include \u003cem>Things I Never Told My Son About Being a Mexican\u003c/em>, an installation of found children’s objects with stereotypical depictions of Mexican people on them, and the \u003cem>Life in the Mission\u003c/em> series, a collection of photographs of daily life in her neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her dedication to politically charged art never abated. She captured headlines in 2014 when she turned her eviction from her Mission apartment of 40 years into “garage sale” performances-slash-protests held at Galería and Red Poppy Art House. (Galería de la Raza itself \u003ca href=\"https://missionlocal.org/2018/12/evicted-galeria-de-la-raza-lands-on-valencia-street/\">was evicted\u003c/a> from its longtime building in 2018.)\u003c/p>\n\u003cp>Despite her long career as a major Chicana artist, López was only irregularly acknowledged by the art world at large. Her upcoming exhibition at the Museum of Contemporary Art San Diego, \u003cem>\u003ca href=\"https://www.mcasd.org/exhibitions/yolanda-l%C3%B3pez-portrait-artist\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López: Portrait of the Artist\u003c/a>\u003c/em>, is the first solo museum exhibition of her work in her entire career.\u003c/p>\n\u003cp>“It took almost five decades to get this type of recognition of her work that she fought for,” says Rivera. “She nurtured so many of us. That’s why organizations like the Galería were created, we felt that we needed to create spaces that celebrated and honored alternative voices. The fact that it’s taken this long to have major museums open up their doors is just atrocious.”\u003c/p>\n\u003cp>Dawsey, the curator behind \u003cem>Portrait of the Artist\u003c/em>, says, “Yolanda was ignored by [the institutional art] world, but she also didn’t seek approval from that world. Her primary audience was always the Chicanx community … she was first and foremost committed to her politics.”\u003c/p>\n\u003cp>And the community gives back: a mural dedicated to her \u003ca href=\"https://missionlocal.org/2021/06/new-mural-honor-chicana-artist-yolanda-lopez-and-pay-homage-to-bay-area-solidarity-movements/\">is now up\u003c/a> near Folsom and 16th Street, and commemorative posters with her image can be spotted taped up on Mission storefronts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The same things Yolanda was talking about 50 years ago, we’re still dealing with them now,” says Rivera, who helped advocate for the mural. “What I feel excited about is that there’s a whole new generation that’s getting to know her work at a really important time.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Layers of Meaning with Visual Artist Paola de la Calle",
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"content": "\u003cp>\u003cem>An earlier version of this story incorrectly stated how many children were detained at the U.S.- Mexico border. There were over 600 children still separated from their families when Paola started the project at the end of 2020. After being separated from their families in detention centers, many were subsequently put in shelters for “unaccompanied minors” or foster care.\u003cbr>\n\u003c/em>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4342513865&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Artist Paola de la Calle plays with images that recall her childhood and her family’s homeland in Colombia. Through them she creates symbols that explore themes of citizenship and the politics of food. Bananas, tv satellites, door knocker hoops, sugar cane, and social security cards, to name a few, repeat in her work. She experiments with these images and themes across mediums. \u003ca href=\"https://www.instagram.com/paoladelacalle/?hl=en\">Paola’s\u003c/a> linocut prints, embellished flags, collaged posters and ceramics ask viewers to dig deeper into the colorful imagery.\u003c/p>\n\u003cp>https://www.instagram.com/p/CLrqEdfHTX8/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Most recently, \u003ca href=\"http://www.paoladelacalle.com/\">Paola\u003c/a> was invited by a coalition of San Francisco based organizations to lead the art contingent of a campaign called “\u003ca href=\"https://carecensf.org/actions/caravan-for-the-children/\">Caravan for the Children\u003c/a>.” It’s focused on the first 100 days of the Biden-Harris administration and seeks to raise awareness for the release, reunification, and healing of the 600+ young people who, after being detained by the U.S. government, were still separated from their families at the end of 2020.\u003c/p>\n\u003cp>It all kicked off in January, with \u003ca href=\"https://youtu.be/yc8xbJxAA3s\">a car caravan\u003c/a> through San Francisco. Next, Paola helped \u003ca href=\"https://youtu.be/v5Sbow4Y4lo\">organize\u003c/a> a series of \u003ca href=\"https://youtu.be/5xsYToT72Xk\">virtual events\u003c/a> that highlighted immigrant poets, storytellers, and advocates. On the 90th day of the campaign, Paola traveled with the coalition to \u003ca href=\"https://youtu.be/sYjdT6Ec47o\">San Diego where they hosted music and poetry\u003c/a> at the border. They also rallied community support at the iconic Chicano Park.\u003c/p>\n\u003cp>May 1st will mark the 100th day of the Biden-Harris administration and the culmination of the campaign. To pressure the administration to free the detained migrant children, the coalition will take “Caravan for the Children” to the U.S. capitol and participate in the \u003ca href=\"https://www.mobilize.us/seiuorganizing/event/383913/\">May Day Immigrant Justice March\u003c/a>. There, Paola will unveil a series of quilts. She contributed five quilts covered with collages of butterflies, a Guatemalan worry doll, a quinceañera ring and fences.\u003c/p>\n\u003cfigure id=\"attachment_13896529\" class=\"wp-caption alignright\" style=\"max-width: 734px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/quilt_closeup.png\" alt=\"\" width=\"734\" height=\"988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/quilt_closeup.png 734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/quilt_closeup-160x215.png 160w\" sizes=\"(max-width: 734px) 100vw, 734px\">\u003cfigcaption class=\"wp-caption-text\">A close up of the quilt Paola created for the “Caravan for the Children Campaign” as part of her residency with Galería de la Raza. \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, we’re talking her latest project along with symbols, memory, the magic of realness, and sourcing community input for collaborative art.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Paola de la Calle.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Marisol: Your work consists of printmaking, ceramics, textiles, and now this beast of a quilting project. What’s the pull to work in these different mediums?\u003c/em>\u003c/p>\n\u003cp>Paola: For me, I used to call myself a printmaker because it was what I was mostly doing. But I came to a point where I was like, ugh, I’m getting really bored or I’m getting really tired of paper. So I started experimenting with other materials. Textiles for me have a lot of significance because my tía Tata used to work as a seamstress for Coach. I used to sit with her by the sewing machine. She taught me how to sew clothes. She taught me to sew buttons, and to make quinceñera dresses. So it was really something that was embedded in my childhood and in my memories. And it felt really natural for me to start working with fabric.\u003c/p>\n\u003cp>Paola: Before the pandemic, I was working on this really large textile piece that I had kind of put away for a while, but when the pandemic hit, I hung that fabric between the wall of my bedroom and bathroom. Taking it apart and putting it back together. It has gone through an entire transformation and it became a sort of meditative experience. And I think that has really prepared me for these quilts because it was the largest I had ever worked before. And it. It really changed the scale of what I thought was possible with the work that I was doing.\u003c/p>\n\u003cp>Paola: It’s been interesting to be able to switch between mediums and see how they all kind of influence each other and how now they’re kind of starting to get pieced together.\u003c/p>\n\u003cfigure id=\"attachment_13896526\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13896526 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ceramics4-e1619724160247-1020x846.jpg\" alt=\"\" width=\"640\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-1020x846.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-800x663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247.jpg 1512w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hand painted ceramic piece, “Country Crock Butter (What makes a country?)” \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Marisol: That makes me think of the history of quilting… If you go into a museum in the United States, they usually label textiles “craft or folk art…” and because these arts are usually made by women, especially Black and brown women, craft art or folk art is often deemed like less artistically rigorous and valuable… What do you think of this?\u003c/em>\u003c/p>\n\u003cp>Paola: It’s interesting because I think that there’s a lot of notions of labor also attached to that kind of art. Quilting, sewing, textile work is highly intensive on the body and they are done usually by women.\u003c/p>\n\u003cp>Paola: In so many ways the art institutions kind of mirror where we are as a society… in devaluing the labor that black and brown women do or working class people do. And I think it’s important to try to disrupt those spaces and figure out the ways that we can push the narrative of what craft art is or what folk art is and why we call it that and why we create those distinctions.\u003c/p>\n\u003cp>\u003cem>Another notable project of Paolas was around the 2020 Census. She created a series of images that responded to the ways locals in San Francisco Mission district did not feel seen by the census.\u003c/em>\u003c/p>\n\u003cp>Paola: That project, which is “El Futuro Es De Todos” or “The Future Is For Everyone,” was really about interrogating what we want the future to look like, sound like, smell like, feel like for folks who are often miscounted, not counted or not represented in the census. The census is pretty limiting. It’s only nine questions. So, I really wanted to hear from other people and from the community: What do you wish it asked instead?\u003c/p>\n\u003cp>\u003cem>Marisol: Can you list some of the questions that community members wanted to be asked on the census but weren’t?\u003c/em>\u003c/p>\n\u003cp>Paola: I wish it asked what resources we believed are lacking in our communities… More information about rent, stabilization, stabilization… What are what are the goals of the community… College, Trade school, et cetera, and what resources do we need to get to these places?… Consent-education in our school system, sexual violence needs to be desperately addressed…\u003c/p>\n\u003cp>Paola: From those statements and questions that folks asked. I pulled a bunch of different images kind of related to what they were saying. And it started off with collaging. And then I created some digital files and I created a series of 8 posters that we ended up wheat pasting on the corner of 18th and Mission\u003c/p>\n\u003cp>https://www.instagram.com/p/CF2bLhsHo5f/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Paola: There were BART cards, because people wanted access to transportation. There were homes because people wanted support with housing. There were paletas on there because people are thinking about a future where folks have access to like nutritious foods, but also things that bring them joy.\u003c/p>\n\u003cp>Paola: It was beautiful because it was created for and by community. All of the statements came from people who were living in the Bay Area or had some relationship to the Bay Area and the Mission specifically. It brought a lot of joy for me during the pandemic to be able to work outside and bring art to folks, especially because museums were closed, galleries were closed. And what we saw was people coming and looking and staying for a while.\u003c/p>\n\u003cp>\u003cem>Marisol: There’s a lot of other symbols that repeat in your work, especially your collage work. I would love to just have you talk about some of your favorite symbols you work with and what it means for you.\u003c/em>\u003c/p>\n\u003cp>Paola: The calling cards… are kind of symbolic of exchange. The idea of papers, not just like people being documented or undocumented, but the calling card itself as a paper that kind of defines a piece of someone’s identity and for me is a way of exchange or transfer across borders. Wherever there were calling cards. We would stop, we would buy the five dollar ones, the ten other ones, the twenty dollar ones, so that we could communicate with our family in Colombia.\u003c/p>\n\u003cfigure id=\"attachment_13896527\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13896527\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/imports_delacalle-800x1010.jpg\" alt=\"\" width=\"567\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle.jpg 828w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Collage on archival National Geographic map of the Americas, “Imports, Exports, and Legacies.” \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paola: The coffee bean appears in my work but I’ve also used coffee itself as like a dye for some of the textiles that I’ve used. And that really is about home. And these feelings of being in community with people. When you go to Colombia, the first thing that someone is going to ask you if you go into their home is: si quieres un cafecito? Do you want a little bit of coffee? And it’s also a Colombian export and I think sometimes it shows up in my work in that way as well.\u003c/p>\n\u003cp>\u003cem>Marisol: Also, I noticed the Pine-Sol… I would love to know what it means for you.\u003c/em>\u003c/p>\n\u003cp>Paola: Yeah, so my parents cleaned houses for a living and for me, Pine Sol was just like a scent that I associated with going to work with my parents, which we did often. Like vacations for us were not vacation from school. It was like always we’re going home, we’re going to work with my parents. So pine-sol in the scent that I think is brings up a lot of feelings of nostalgia. But also honoring the labor they did when they were cleaning houses\u003c/p>\n\u003cfigure id=\"attachment_13896524\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13896524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/aqui_alla_portfolio3-1020x1402.jpg\" alt=\"\" width=\"567\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1020x1402.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-800x1099.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-768x1055.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1118x1536.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1490x2048.jpg 1490w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1920x2638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-scaled.jpg 1863w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">“Aqui/Alla.” Collage printed on a flag made of black satin, embroidered beads, and fringe. \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Marisol: What did they think about you making meaning of very mundane things for them?\u003c/em>\u003c/p>\n\u003cp>Paola: I think in the beginning, they were like, why are you? But now are like sending me pictures of things. And my mom recently sent me a picture of my father holding a broom. And she was like, your dad wanted to pose next to it just in case you want to use it. So I think I think now they’re like super into it. And we’ve had a lot of conversations about why this is important for me, why I’m making this work, and now they’re a part of it. So sometimes I’ll be like, mami, send me a picture of this or like I’ll take screenshots of our WhatsApp conversations and include them in artwork.\u003c/p>\n\u003cp>\u003cem>Marisol: I love that.\u003c/em>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Paola de la Calle talks weaving mementos of childhood, Colombia and immigration in her collages, protest quilts and census posters. ",
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"title": "Layers of Meaning with Visual Artist Paola de la Calle | KQED",
"description": "Paola de la Calle talks weaving mementos of childhood, Colombia and immigration in her collages, protest quilts and census posters. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>An earlier version of this story incorrectly stated how many children were detained at the U.S.- Mexico border. There were over 600 children still separated from their families when Paola started the project at the end of 2020. After being separated from their families in detention centers, many were subsequently put in shelters for “unaccompanied minors” or foster care.\u003cbr>\n\u003c/em>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4342513865&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Artist Paola de la Calle plays with images that recall her childhood and her family’s homeland in Colombia. Through them she creates symbols that explore themes of citizenship and the politics of food. Bananas, tv satellites, door knocker hoops, sugar cane, and social security cards, to name a few, repeat in her work. She experiments with these images and themes across mediums. \u003ca href=\"https://www.instagram.com/paoladelacalle/?hl=en\">Paola’s\u003c/a> linocut prints, embellished flags, collaged posters and ceramics ask viewers to dig deeper into the colorful imagery.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most recently, \u003ca href=\"http://www.paoladelacalle.com/\">Paola\u003c/a> was invited by a coalition of San Francisco based organizations to lead the art contingent of a campaign called “\u003ca href=\"https://carecensf.org/actions/caravan-for-the-children/\">Caravan for the Children\u003c/a>.” It’s focused on the first 100 days of the Biden-Harris administration and seeks to raise awareness for the release, reunification, and healing of the 600+ young people who, after being detained by the U.S. government, were still separated from their families at the end of 2020.\u003c/p>\n\u003cp>It all kicked off in January, with \u003ca href=\"https://youtu.be/yc8xbJxAA3s\">a car caravan\u003c/a> through San Francisco. Next, Paola helped \u003ca href=\"https://youtu.be/v5Sbow4Y4lo\">organize\u003c/a> a series of \u003ca href=\"https://youtu.be/5xsYToT72Xk\">virtual events\u003c/a> that highlighted immigrant poets, storytellers, and advocates. On the 90th day of the campaign, Paola traveled with the coalition to \u003ca href=\"https://youtu.be/sYjdT6Ec47o\">San Diego where they hosted music and poetry\u003c/a> at the border. They also rallied community support at the iconic Chicano Park.\u003c/p>\n\u003cp>May 1st will mark the 100th day of the Biden-Harris administration and the culmination of the campaign. To pressure the administration to free the detained migrant children, the coalition will take “Caravan for the Children” to the U.S. capitol and participate in the \u003ca href=\"https://www.mobilize.us/seiuorganizing/event/383913/\">May Day Immigrant Justice March\u003c/a>. There, Paola will unveil a series of quilts. She contributed five quilts covered with collages of butterflies, a Guatemalan worry doll, a quinceañera ring and fences.\u003c/p>\n\u003cfigure id=\"attachment_13896529\" class=\"wp-caption alignright\" style=\"max-width: 734px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/quilt_closeup.png\" alt=\"\" width=\"734\" height=\"988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/quilt_closeup.png 734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/quilt_closeup-160x215.png 160w\" sizes=\"(max-width: 734px) 100vw, 734px\">\u003cfigcaption class=\"wp-caption-text\">A close up of the quilt Paola created for the “Caravan for the Children Campaign” as part of her residency with Galería de la Raza. \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, we’re talking her latest project along with symbols, memory, the magic of realness, and sourcing community input for collaborative art.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Paola de la Calle.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Marisol: Your work consists of printmaking, ceramics, textiles, and now this beast of a quilting project. What’s the pull to work in these different mediums?\u003c/em>\u003c/p>\n\u003cp>Paola: For me, I used to call myself a printmaker because it was what I was mostly doing. But I came to a point where I was like, ugh, I’m getting really bored or I’m getting really tired of paper. So I started experimenting with other materials. Textiles for me have a lot of significance because my tía Tata used to work as a seamstress for Coach. I used to sit with her by the sewing machine. She taught me how to sew clothes. She taught me to sew buttons, and to make quinceñera dresses. So it was really something that was embedded in my childhood and in my memories. And it felt really natural for me to start working with fabric.\u003c/p>\n\u003cp>Paola: Before the pandemic, I was working on this really large textile piece that I had kind of put away for a while, but when the pandemic hit, I hung that fabric between the wall of my bedroom and bathroom. Taking it apart and putting it back together. It has gone through an entire transformation and it became a sort of meditative experience. And I think that has really prepared me for these quilts because it was the largest I had ever worked before. And it. It really changed the scale of what I thought was possible with the work that I was doing.\u003c/p>\n\u003cp>Paola: It’s been interesting to be able to switch between mediums and see how they all kind of influence each other and how now they’re kind of starting to get pieced together.\u003c/p>\n\u003cfigure id=\"attachment_13896526\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13896526 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ceramics4-e1619724160247-1020x846.jpg\" alt=\"\" width=\"640\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-1020x846.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-800x663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ceramics4-e1619724160247.jpg 1512w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hand painted ceramic piece, “Country Crock Butter (What makes a country?)” \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Marisol: That makes me think of the history of quilting… If you go into a museum in the United States, they usually label textiles “craft or folk art…” and because these arts are usually made by women, especially Black and brown women, craft art or folk art is often deemed like less artistically rigorous and valuable… What do you think of this?\u003c/em>\u003c/p>\n\u003cp>Paola: It’s interesting because I think that there’s a lot of notions of labor also attached to that kind of art. Quilting, sewing, textile work is highly intensive on the body and they are done usually by women.\u003c/p>\n\u003cp>Paola: In so many ways the art institutions kind of mirror where we are as a society… in devaluing the labor that black and brown women do or working class people do. And I think it’s important to try to disrupt those spaces and figure out the ways that we can push the narrative of what craft art is or what folk art is and why we call it that and why we create those distinctions.\u003c/p>\n\u003cp>\u003cem>Another notable project of Paolas was around the 2020 Census. She created a series of images that responded to the ways locals in San Francisco Mission district did not feel seen by the census.\u003c/em>\u003c/p>\n\u003cp>Paola: That project, which is “El Futuro Es De Todos” or “The Future Is For Everyone,” was really about interrogating what we want the future to look like, sound like, smell like, feel like for folks who are often miscounted, not counted or not represented in the census. The census is pretty limiting. It’s only nine questions. So, I really wanted to hear from other people and from the community: What do you wish it asked instead?\u003c/p>\n\u003cp>\u003cem>Marisol: Can you list some of the questions that community members wanted to be asked on the census but weren’t?\u003c/em>\u003c/p>\n\u003cp>Paola: I wish it asked what resources we believed are lacking in our communities… More information about rent, stabilization, stabilization… What are what are the goals of the community… College, Trade school, et cetera, and what resources do we need to get to these places?… Consent-education in our school system, sexual violence needs to be desperately addressed…\u003c/p>\n\u003cp>Paola: From those statements and questions that folks asked. I pulled a bunch of different images kind of related to what they were saying. And it started off with collaging. And then I created some digital files and I created a series of 8 posters that we ended up wheat pasting on the corner of 18th and Mission\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paola: There were BART cards, because people wanted access to transportation. There were homes because people wanted support with housing. There were paletas on there because people are thinking about a future where folks have access to like nutritious foods, but also things that bring them joy.\u003c/p>\n\u003cp>Paola: It was beautiful because it was created for and by community. All of the statements came from people who were living in the Bay Area or had some relationship to the Bay Area and the Mission specifically. It brought a lot of joy for me during the pandemic to be able to work outside and bring art to folks, especially because museums were closed, galleries were closed. And what we saw was people coming and looking and staying for a while.\u003c/p>\n\u003cp>\u003cem>Marisol: There’s a lot of other symbols that repeat in your work, especially your collage work. I would love to just have you talk about some of your favorite symbols you work with and what it means for you.\u003c/em>\u003c/p>\n\u003cp>Paola: The calling cards… are kind of symbolic of exchange. The idea of papers, not just like people being documented or undocumented, but the calling card itself as a paper that kind of defines a piece of someone’s identity and for me is a way of exchange or transfer across borders. Wherever there were calling cards. We would stop, we would buy the five dollar ones, the ten other ones, the twenty dollar ones, so that we could communicate with our family in Colombia.\u003c/p>\n\u003cfigure id=\"attachment_13896527\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13896527\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/imports_delacalle-800x1010.jpg\" alt=\"\" width=\"567\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/imports_delacalle.jpg 828w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Collage on archival National Geographic map of the Americas, “Imports, Exports, and Legacies.” \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paola: The coffee bean appears in my work but I’ve also used coffee itself as like a dye for some of the textiles that I’ve used. And that really is about home. And these feelings of being in community with people. When you go to Colombia, the first thing that someone is going to ask you if you go into their home is: si quieres un cafecito? Do you want a little bit of coffee? And it’s also a Colombian export and I think sometimes it shows up in my work in that way as well.\u003c/p>\n\u003cp>\u003cem>Marisol: Also, I noticed the Pine-Sol… I would love to know what it means for you.\u003c/em>\u003c/p>\n\u003cp>Paola: Yeah, so my parents cleaned houses for a living and for me, Pine Sol was just like a scent that I associated with going to work with my parents, which we did often. Like vacations for us were not vacation from school. It was like always we’re going home, we’re going to work with my parents. So pine-sol in the scent that I think is brings up a lot of feelings of nostalgia. But also honoring the labor they did when they were cleaning houses\u003c/p>\n\u003cfigure id=\"attachment_13896524\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13896524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/aqui_alla_portfolio3-1020x1402.jpg\" alt=\"\" width=\"567\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1020x1402.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-800x1099.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-768x1055.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1118x1536.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1490x2048.jpg 1490w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-1920x2638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/aqui_alla_portfolio3-scaled.jpg 1863w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">“Aqui/Alla.” Collage printed on a flag made of black satin, embroidered beads, and fringe. \u003ccite>(Paola de la Calle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Marisol: What did they think about you making meaning of very mundane things for them?\u003c/em>\u003c/p>\n\u003cp>Paola: I think in the beginning, they were like, why are you? But now are like sending me pictures of things. And my mom recently sent me a picture of my father holding a broom. And she was like, your dad wanted to pose next to it just in case you want to use it. So I think I think now they’re like super into it. And we’ve had a lot of conversations about why this is important for me, why I’m making this work, and now they’re a part of it. So sometimes I’ll be like, mami, send me a picture of this or like I’ll take screenshots of our WhatsApp conversations and include them in artwork.\u003c/p>\n\u003cp>\u003cem>Marisol: I love that.\u003c/em>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>René Yañez, the Chicano artist who helped introduce the United States to Día de Los Muertos and the work of Frida Kahlo, died Tuesday morning from cancer. He was 75.\u003c/p>\n\u003cp>Yañez’s son Rio announced his father’s death on Facebook, saying the influential artist passed “surrounded by people who loved him.” Diagnosed with both prostate and bone cancer seven months before, the revered artist had been hospitalized for the past two weeks.\u003c/p>\n\u003cp>“Throughout the past two weeks my Dad’s spirit has defied every expectation of his mortality to talk, laugh, joke, and sing with us,” \u003ca href=\"https://www.facebook.com/rioyanez/posts/10156920238627573\" rel=\"noopener\" target=\"_blank\">Rio wrote\u003c/a>. “Once my Dad entered the hospital he was never alone, there was always a friend by his side.”\u003c/p>\n\u003cp>Described as “\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">an elder of the Bay Area Chicano arts movement\u003c/a>,” Yañez spent most of his career in San Francisco, tirelessly promoting the work of Latinx artists and Chicano culture. An accomplished artist himself, his greatest work may have been his impact on the community. \u003c/p>\n\u003cp>“He was instrumental in reconnecting [Chicanos] to the traditions we hold dear, and making them more visible in the United States,” Galería de la Raza’s executive director Ani Rivera said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yañez came to the United States from Mexico when he was 12 and moved to San Francisco in the ’60s, after being drafted during the Vietnam War. There, he attended several schools, including California College of the Arts and the San Francisco Art Institute.\u003c/p>\n\u003cp>In 1970, he and several other artists co-founded Galería de la Raza, a cultural institution in San Francisco’s Mission District. As the space’s first artistic director, he established the gallery as a premier venue for Chicano art, but also as a home for burgeoning artists. The gallery became a hub for the community, providing services for the neighborhood like youth programs and public murals, which Yañez helped mount.\u003c/p>\n\u003cp>“There was no separation between René and the gallery,” Rivera said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OGBHORYEF_8\u003c/p>\n\u003cp>Yañez made history in 1972 when he and his colleague Ralph Maradiaga brought the Mexican tradition of Día de Los Muertos, or Day of the Dead, to San Francisco. It began with an altar in front of the Galería de la Raza, later expanding to exhibits at the Yerba Buena Center for the Arts. The exhibitions became an annual event, helping establish the holiday as an important cultural celebration in the Mission District. \u003c/p>\n\u003cp>“I came to realize that everything that happens in this country is hybrid. It’s not totally pure,” Yañez later said \u003ca href=\"https://journals.openedition.org/lisa/2858\" rel=\"noopener\" target=\"_blank\">about his gallery’s impact\u003c/a>. “In fact we are creating the culture here.”\u003c/p>\n\u003cp>Later, after the San Francisco Museum of Modern Art (SFMOMA) reportedly declined his idea for a retrospective of Frida Kahlo’s works, Yañez hosted it at Galería de la Raza instead. It was one of the first comprehensive exhibits of Kahlo’s art in the United States, bringing her out of the shadow of husband Diego Rivera to be recognized as a talented artist in her own right.\u003c/p>\n\u003cp>In 2001, with the help of comedian Cheech Marin and his vast collection of Chicano art, Yañez curated \u003ci>Chicano Visions: American Painters on the Verge.\u003c/i> Described as “perhaps the most \u003ca href=\"http://cheechmarin.com/chicano-visions/\" rel=\"noopener\" target=\"_blank\">complete exhibition of Chicano art\u003c/a>,” the exhibit toured the United States for five years, reaching as far as Florida and Minnesota.\u003c/p>\n\u003cp>All the while Yañez promoted the work of others, he made his own art, both physical and performance-based. He started the Chicano comedy group \u003ca href=\"https://library.csun.edu/SCA/Peek-in-the-Stacks/culture-clash\" rel=\"noopener\" target=\"_blank\">Culture Clash\u003c/a> in 1984 and later, with his son Rio, they formed The Great Tortilla Conspiracy, which combined food-based art with humor. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWKFbtSTZkw\u003c/p>\n\u003cp>The community gave back to Yañez in the years before his death. In 2013, he and his family \u003ca href=\"https://www.kqed.org/news/135170/in-san-franciscos-mission-district-evicted-artists-hold-garage-sale-to-pay-for-move\" rel=\"noopener\" target=\"_blank\">faced eviction\u003c/a> from the building they had lived in since 1978. But two years later, the San Francisco Community Land Trust and the Mission Economic Development Agency bought the building, thereby allowing Yañez’s family to stay put. \u003c/p>\n\u003cp>This year, after learning he had just months to live, Yañez and friends curated one last show — a retrospective of his work. The exhibit, \u003ci>\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">Into The Fade\u003c/a>\u003c/i> at the Luggage Store Gallery, showcased decades of work, from street art and abstract drawings to tortillas and virtual reality pieces. \u003c/p>\n\u003cp>When asked what he wanted to be remembered for before the opening of his show, the thoughtful, gentle Yañez did not mention his art, or his impact on the art world.\u003c/p>\n\u003cp>“I want to be remembered for how lucky I am to have such good friends,” Yañez told \u003ca href=\"http://eltecolote.org/content/en/features/rene-yanez-reflects-on-five-decades-of-being-an-artist-in-the-mission/\" rel=\"noopener\" target=\"_blank\">\u003cem>El Tecolote\u003c/em>\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>At press time, a public memorial for Yañez has not been announced. We will update this story when we learn new details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13833788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg\" alt=\"René Yañez in 2017\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">René Yañez in 2017 \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>René Yañez, the Chicano artist who helped introduce the United States to Día de Los Muertos and the work of Frida Kahlo, died Tuesday morning from cancer. He was 75.\u003c/p>\n\u003cp>Yañez’s son Rio announced his father’s death on Facebook, saying the influential artist passed “surrounded by people who loved him.” Diagnosed with both prostate and bone cancer seven months before, the revered artist had been hospitalized for the past two weeks.\u003c/p>\n\u003cp>“Throughout the past two weeks my Dad’s spirit has defied every expectation of his mortality to talk, laugh, joke, and sing with us,” \u003ca href=\"https://www.facebook.com/rioyanez/posts/10156920238627573\" rel=\"noopener\" target=\"_blank\">Rio wrote\u003c/a>. “Once my Dad entered the hospital he was never alone, there was always a friend by his side.”\u003c/p>\n\u003cp>Described as “\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">an elder of the Bay Area Chicano arts movement\u003c/a>,” Yañez spent most of his career in San Francisco, tirelessly promoting the work of Latinx artists and Chicano culture. An accomplished artist himself, his greatest work may have been his impact on the community. \u003c/p>\n\u003cp>“He was instrumental in reconnecting [Chicanos] to the traditions we hold dear, and making them more visible in the United States,” Galería de la Raza’s executive director Ani Rivera said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yañez came to the United States from Mexico when he was 12 and moved to San Francisco in the ’60s, after being drafted during the Vietnam War. There, he attended several schools, including California College of the Arts and the San Francisco Art Institute.\u003c/p>\n\u003cp>In 1970, he and several other artists co-founded Galería de la Raza, a cultural institution in San Francisco’s Mission District. As the space’s first artistic director, he established the gallery as a premier venue for Chicano art, but also as a home for burgeoning artists. The gallery became a hub for the community, providing services for the neighborhood like youth programs and public murals, which Yañez helped mount.\u003c/p>\n\u003cp>“There was no separation between René and the gallery,” Rivera said.\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/OGBHORYEF_8'\n title='//www.youtube.com/embed/OGBHORYEF_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yañez made history in 1972 when he and his colleague Ralph Maradiaga brought the Mexican tradition of Día de Los Muertos, or Day of the Dead, to San Francisco. It began with an altar in front of the Galería de la Raza, later expanding to exhibits at the Yerba Buena Center for the Arts. The exhibitions became an annual event, helping establish the holiday as an important cultural celebration in the Mission District. \u003c/p>\n\u003cp>“I came to realize that everything that happens in this country is hybrid. It’s not totally pure,” Yañez later said \u003ca href=\"https://journals.openedition.org/lisa/2858\" rel=\"noopener\" target=\"_blank\">about his gallery’s impact\u003c/a>. “In fact we are creating the culture here.”\u003c/p>\n\u003cp>Later, after the San Francisco Museum of Modern Art (SFMOMA) reportedly declined his idea for a retrospective of Frida Kahlo’s works, Yañez hosted it at Galería de la Raza instead. It was one of the first comprehensive exhibits of Kahlo’s art in the United States, bringing her out of the shadow of husband Diego Rivera to be recognized as a talented artist in her own right.\u003c/p>\n\u003cp>In 2001, with the help of comedian Cheech Marin and his vast collection of Chicano art, Yañez curated \u003ci>Chicano Visions: American Painters on the Verge.\u003c/i> Described as “perhaps the most \u003ca href=\"http://cheechmarin.com/chicano-visions/\" rel=\"noopener\" target=\"_blank\">complete exhibition of Chicano art\u003c/a>,” the exhibit toured the United States for five years, reaching as far as Florida and Minnesota.\u003c/p>\n\u003cp>All the while Yañez promoted the work of others, he made his own art, both physical and performance-based. He started the Chicano comedy group \u003ca href=\"https://library.csun.edu/SCA/Peek-in-the-Stacks/culture-clash\" rel=\"noopener\" target=\"_blank\">Culture Clash\u003c/a> in 1984 and later, with his son Rio, they formed The Great Tortilla Conspiracy, which combined food-based art with humor. \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/sWKFbtSTZkw'\n title='//www.youtube.com/embed/sWKFbtSTZkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The community gave back to Yañez in the years before his death. In 2013, he and his family \u003ca href=\"https://www.kqed.org/news/135170/in-san-franciscos-mission-district-evicted-artists-hold-garage-sale-to-pay-for-move\" rel=\"noopener\" target=\"_blank\">faced eviction\u003c/a> from the building they had lived in since 1978. But two years later, the San Francisco Community Land Trust and the Mission Economic Development Agency bought the building, thereby allowing Yañez’s family to stay put. \u003c/p>\n\u003cp>This year, after learning he had just months to live, Yañez and friends curated one last show — a retrospective of his work. The exhibit, \u003ci>\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">Into The Fade\u003c/a>\u003c/i> at the Luggage Store Gallery, showcased decades of work, from street art and abstract drawings to tortillas and virtual reality pieces. \u003c/p>\n\u003cp>When asked what he wanted to be remembered for before the opening of his show, the thoughtful, gentle Yañez did not mention his art, or his impact on the art world.\u003c/p>\n\u003cp>“I want to be remembered for how lucky I am to have such good friends,” Yañez told \u003ca href=\"http://eltecolote.org/content/en/features/rene-yanez-reflects-on-five-decades-of-being-an-artist-in-the-mission/\" rel=\"noopener\" target=\"_blank\">\u003cem>El Tecolote\u003c/em>\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>At press time, a public memorial for Yañez has not been announced. We will update this story when we learn new details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13833788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg\" alt=\"René Yañez in 2017\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">René Yañez in 2017 \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Flipping the Narrative of the Undocumented from Pain to Joy",
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"content": "\u003cp>In the year since Donald Trump took over the White House, administrative arrests by ICE rose by 30 percent. The fear and uncertainty felt by the undocumented community are palpable across the United States, but one thing many seem to forget is that underneath these feelings, there are regular people going about their daily lives: parents who work hard to raise their families, students who stress over getting good grades in school, doctors saving lives and artists crafting their next projects.\u003c/p>\n\u003cp>The \u003cem>#UndocuJoy\u003c/em> exhibit currently on display at San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> reminds viewers of exactly that, showcasing the undocumented community as more than just activists or people living in fear — the only narratives most mainstream media tends to portray.\u003c/p>\n\u003cfigure id=\"attachment_13824691\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg\" alt=\"Work by Nicolas Gonzalez at the opening of '#UndocuJoy.'\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Work by Nicolas Gonzalez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>#UndocuJoy\u003c/em> includes the work of 14 talented artists, undocumented and formerly undocumented. As visitors walk through the gallery, the art ranges from textiles, sculptures, photography, painting, and video.\u003c/p>\n\u003cp>The show was curated by Yosimar Reyes, a poet and artist-in-residence at \u003ca href=\"https://defineamerican.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Define American\u003c/a>, a nonprofit media and culture organization dedicated to shifting the conversation around immigration and the ever-changing landscape of America.\u003c/p>\n\u003cp>“In the mainstream media, we are not viewed as strategists, as thinkers, as artists, we are only viewed as subjects,” Reyes says, “not necessarily as someone articulate enough to propose an analysis of what is happening.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibit at Galería de la Raza is not the first effort for Reyes, who lives in Los Angeles — back home, he curated two other similar projects. The first one in Boyle Heights was called \u003cem>\u003ca href=\"http://www.latimes.com/local/california/la-me-ln-immigration-20170005-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">We Never Needed Papers to Thrive\u003c/a>\u003c/em>, the second installment was \u003cem>No Ban, No Wall\u003c/em>, a joint effort with the Muslim community in Southern California. These exhibitions showcased the work solely of undocumented artists as a celebration of strength and resilience.\u003c/p>\n\u003cfigure id=\"attachment_13824690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg\" alt=\"Work by Féi Hernandez at the opening of '#UndocuJoy.'\" width=\"1200\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-800x728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-768x699.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1020x928.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1180x1074.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-960x874.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-520x473.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Féi Hernandez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people talk about the undocumented community, they talk about fear, and I didn’t want to do that with the exhibit,” Reyes says, “I wanted it to be about joy.”\u003c/p>\n\u003cp>Ani Rivera, executive director at Galería de la Raza, was one of Reyes’ most fervent supporters in the effort to bring this exhibit to San Francisco. “It’s a moment to celebrate and flip the narrative,” says Rivera. “The exhibition brings these folks together to a space that has been historically about organizing social justice, and [shows] how art can change and transform lives.”\u003c/p>\n\u003cfigure id=\"attachment_13824686\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg\" alt=\"Alexander Hernandez, 'Nopal,' 2017.\" width=\"640\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-520x681.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Hernandez, ‘Nopal,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes emphasizes that \u003cem>#UndocuJoy\u003c/em> is not about educating the masses on the complexity of immigration, or the years of fighting to pass the DREAM Act. “We put the burden on undocumented people to constantly be educating, and constantly bare everything, to relive their trauma,” Reyes says. “The audience for this is actual undocumented people, but we are opening it to everyone — the theme of trying to thrive is universal.”\u003c/p>\n\u003cp>Some of the participants in the show might not necessarily self-identify as artists, but trusted Reyes’ vision enough to bring out their artwork. “Maybe 15 percent of them identify as artists,” says Rivera, “they are day-to-day people who are living and thriving as undocumented in a way that is humane.”\u003c/p>\n\u003cp>Reyes did a national call for submissions to select those who would ultimately be part of this exhibit. The response was overwhelming, and while he expected a significant portion of the work to be about the fight for the DREAM Act, most of the art he received honored parents and grandparents.\u003c/p>\n\u003cfigure id=\"attachment_13824687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg\" alt=\"Alicia Martinez, 'Angelinos: Rosalina,' 2017.\" width=\"1200\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1020x882.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-960x830.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Martinez, ‘Angelinos: Rosalina,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intersectionality is also a crucial part of the exhibit —being undocuqueer (openly undocumented and queer) is not often part of the conversation around immigration. The work of \u003ca href=\"https://www.feihernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Féi Hernandez\u003c/a>, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julio Salgado\u003c/a>, \u003ca href=\"https://www.instagram.com/chelinski.art/\" target=\"_blank\" rel=\"noopener noreferrer\">Chela Chelisnki\u003c/a>, and \u003ca href=\"https://www.hernalex.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Hernandez\u003c/a> reflect this duality.\u003c/p>\n\u003cp>The most striking piece in the show is a video by \u003ca href=\"https://www.keniaguillen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenia Guillen\u003c/a>, who documented a trip back to El Salvador, combining old VHS tapes from her childhood with the new footage. Before the DACA program was rescinded, Dreamers were able to apply for a temporary permit to travel out of the country. (As of now, Dreamers are no longer able to apply for this permit.) The video is a powerful visual reminder of what is like for someone to return to the land where they were born years, sometimes decades, after leaving for the United States.\u003c/p>\n\u003cp>“This is such a global experience, loss, transition, migration,” Rivera says, “how do other people not see it?”\u003c/p>\n\u003cp>While Dreamers are as American as the rest of us, they cannot negate the pride and joy they feel for the country they once called home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘#UndocuJoy: Unfathomable Strength’ is on view through May 12, 2018 at Galería de la Raza in San Francisco (2857 24th Street). For more information, \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=7191\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At Galería de la Raza, '#UndocuJoy' celebrates the undocumented community's resilience and strength through the power of art. \r\n",
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"title": "Flipping the Narrative of the Undocumented from Pain to Joy | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the year since Donald Trump took over the White House, administrative arrests by ICE rose by 30 percent. The fear and uncertainty felt by the undocumented community are palpable across the United States, but one thing many seem to forget is that underneath these feelings, there are regular people going about their daily lives: parents who work hard to raise their families, students who stress over getting good grades in school, doctors saving lives and artists crafting their next projects.\u003c/p>\n\u003cp>The \u003cem>#UndocuJoy\u003c/em> exhibit currently on display at San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> reminds viewers of exactly that, showcasing the undocumented community as more than just activists or people living in fear — the only narratives most mainstream media tends to portray.\u003c/p>\n\u003cfigure id=\"attachment_13824691\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg\" alt=\"Work by Nicolas Gonzalez at the opening of '#UndocuJoy.'\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Work by Nicolas Gonzalez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>#UndocuJoy\u003c/em> includes the work of 14 talented artists, undocumented and formerly undocumented. As visitors walk through the gallery, the art ranges from textiles, sculptures, photography, painting, and video.\u003c/p>\n\u003cp>The show was curated by Yosimar Reyes, a poet and artist-in-residence at \u003ca href=\"https://defineamerican.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Define American\u003c/a>, a nonprofit media and culture organization dedicated to shifting the conversation around immigration and the ever-changing landscape of America.\u003c/p>\n\u003cp>“In the mainstream media, we are not viewed as strategists, as thinkers, as artists, we are only viewed as subjects,” Reyes says, “not necessarily as someone articulate enough to propose an analysis of what is happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibit at Galería de la Raza is not the first effort for Reyes, who lives in Los Angeles — back home, he curated two other similar projects. The first one in Boyle Heights was called \u003cem>\u003ca href=\"http://www.latimes.com/local/california/la-me-ln-immigration-20170005-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">We Never Needed Papers to Thrive\u003c/a>\u003c/em>, the second installment was \u003cem>No Ban, No Wall\u003c/em>, a joint effort with the Muslim community in Southern California. These exhibitions showcased the work solely of undocumented artists as a celebration of strength and resilience.\u003c/p>\n\u003cfigure id=\"attachment_13824690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg\" alt=\"Work by Féi Hernandez at the opening of '#UndocuJoy.'\" width=\"1200\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-800x728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-768x699.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1020x928.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1180x1074.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-960x874.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-520x473.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Féi Hernandez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people talk about the undocumented community, they talk about fear, and I didn’t want to do that with the exhibit,” Reyes says, “I wanted it to be about joy.”\u003c/p>\n\u003cp>Ani Rivera, executive director at Galería de la Raza, was one of Reyes’ most fervent supporters in the effort to bring this exhibit to San Francisco. “It’s a moment to celebrate and flip the narrative,” says Rivera. “The exhibition brings these folks together to a space that has been historically about organizing social justice, and [shows] how art can change and transform lives.”\u003c/p>\n\u003cfigure id=\"attachment_13824686\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg\" alt=\"Alexander Hernandez, 'Nopal,' 2017.\" width=\"640\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-520x681.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Hernandez, ‘Nopal,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes emphasizes that \u003cem>#UndocuJoy\u003c/em> is not about educating the masses on the complexity of immigration, or the years of fighting to pass the DREAM Act. “We put the burden on undocumented people to constantly be educating, and constantly bare everything, to relive their trauma,” Reyes says. “The audience for this is actual undocumented people, but we are opening it to everyone — the theme of trying to thrive is universal.”\u003c/p>\n\u003cp>Some of the participants in the show might not necessarily self-identify as artists, but trusted Reyes’ vision enough to bring out their artwork. “Maybe 15 percent of them identify as artists,” says Rivera, “they are day-to-day people who are living and thriving as undocumented in a way that is humane.”\u003c/p>\n\u003cp>Reyes did a national call for submissions to select those who would ultimately be part of this exhibit. The response was overwhelming, and while he expected a significant portion of the work to be about the fight for the DREAM Act, most of the art he received honored parents and grandparents.\u003c/p>\n\u003cfigure id=\"attachment_13824687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg\" alt=\"Alicia Martinez, 'Angelinos: Rosalina,' 2017.\" width=\"1200\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1020x882.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-960x830.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Martinez, ‘Angelinos: Rosalina,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intersectionality is also a crucial part of the exhibit —being undocuqueer (openly undocumented and queer) is not often part of the conversation around immigration. The work of \u003ca href=\"https://www.feihernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Féi Hernandez\u003c/a>, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julio Salgado\u003c/a>, \u003ca href=\"https://www.instagram.com/chelinski.art/\" target=\"_blank\" rel=\"noopener noreferrer\">Chela Chelisnki\u003c/a>, and \u003ca href=\"https://www.hernalex.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Hernandez\u003c/a> reflect this duality.\u003c/p>\n\u003cp>The most striking piece in the show is a video by \u003ca href=\"https://www.keniaguillen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenia Guillen\u003c/a>, who documented a trip back to El Salvador, combining old VHS tapes from her childhood with the new footage. Before the DACA program was rescinded, Dreamers were able to apply for a temporary permit to travel out of the country. (As of now, Dreamers are no longer able to apply for this permit.) The video is a powerful visual reminder of what is like for someone to return to the land where they were born years, sometimes decades, after leaving for the United States.\u003c/p>\n\u003cp>“This is such a global experience, loss, transition, migration,” Rivera says, “how do other people not see it?”\u003c/p>\n\u003cp>While Dreamers are as American as the rest of us, they cannot negate the pride and joy they feel for the country they once called home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘#UndocuJoy: Unfathomable Strength’ is on view through May 12, 2018 at Galería de la Raza in San Francisco (2857 24th Street). For more information, \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=7191\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Kenneth Rainin Foundation announced Tuesday the awarding of $500,000 in grants to four local arts organizations for temporary public art projects in Oakland and San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a>, \u003ca href=\"https://flyawayproductions.com/\" rel=\"noopener\" target=\"_blank\">Flyaway Productions\u003c/a>, \u003ca href=\"http://www.galeriadelaraza.org/\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a> will each receive six-figure grants from the foundation. Selected from a field of 35 other applicants, the awardees are expected to complete their projects within the next 18 months.\u003c/p>\n\u003cp>The grants come from the foundation’s Open Spaces program, an initiative to provide more public art in the Bay Area. The program began two years ago as a way to engage local communities with art that speaks to bigger issues, such as immigration and displacement. \u003c/p>\n\u003cp>“It’s not like we’re sticking a statue in a neighborhood,” said Amanda Flores-Witte, the communications director for Kenneth Rainin Foundation. “We’re looking for ways to bring people together that wasn’t possible before.”\u003c/p>\n\u003cp>These projects “awaken people to what civil engagement is all about,” said Flores-Witte.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced Tuesday the awarding of $500,000 in grants to four local arts organizations for temporary public art projects in Oakland and San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a>, \u003ca href=\"https://flyawayproductions.com/\" rel=\"noopener\" target=\"_blank\">Flyaway Productions\u003c/a>, \u003ca href=\"http://www.galeriadelaraza.org/\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a> will each receive six-figure grants from the foundation. Selected from a field of 35 other applicants, the awardees are expected to complete their projects within the next 18 months.\u003c/p>\n\u003cp>The grants come from the foundation’s Open Spaces program, an initiative to provide more public art in the Bay Area. The program began two years ago as a way to engage local communities with art that speaks to bigger issues, such as immigration and displacement. \u003c/p>\n\u003cp>“It’s not like we’re sticking a statue in a neighborhood,” said Amanda Flores-Witte, the communications director for Kenneth Rainin Foundation. “We’re looking for ways to bring people together that wasn’t possible before.”\u003c/p>\n\u003cp>These projects “awaken people to what civil engagement is all about,” said Flores-Witte.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Will Ed Lee be Remembered as an Arts Advocate? It's Complicated",
"headTitle": "Will Ed Lee be Remembered as an Arts Advocate? It’s Complicated | KQED",
"content": "\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "While San Francisco artists faced unprecedented displacement and eviction, the mayor increased funding for many arts organizations.",
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"title": "Will Ed Lee be Remembered as an Arts Advocate? It's Complicated | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\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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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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