By Magaly Muñoz

Post Staff

Douglas Stewart has spent the last 15 years making his space at the Oakland Cannery into a home with artwork on every free space of the walls and vinyl records covering the tabletops.

Stewart is a man of many titles, including teacher, activist, advocate and above all, artist. He’s worked in arts preservation, poetry and has helped in juvenile justice centers and prisons to support vulnerable communities dealing with mental health and wellness issues.

The Oakland Cannery is more than a residence for Stewart and its other tenants, it’s also their workspace. However, after 47 years, the residents have been issued a 120-day eviction notice.

Problems at the Cannery began in 2016 when Green Sage, a Colorado-based cannabis cultivation company, acquired the property at 5733 San Leandro St. Their plan was to use this and other similar sites in the area for large-scale cannabis production.

“Unfortunately, however you want to look at it, Green Sage took over as landlords right around the time that the licenses and the Oakland Cannery got deemed as a ‘green zone’. And that’s when they started kicking out the commercial tenants below us and really started activating the space for cannabis operators and operations,” Stewart said.

Stewart and Alistair Monroe, son of the late painter Arthur Monroe who is responsible for the Cannery’s transformation into Oakland’s first live-work residence, claim their homes became unlivable due to the property owners’ neglect.

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Both told stories of poor plumbing, electrical problems, lack of security and maintenance workers entering their homes unannounced. Despite numerous complaints and maintenance, requests, the property owners failed to address the problems.

“They had a lawless mentality to say that we were not residential use, we were commercial use, and we had to do as they say,” Monroe said.

Stewart supports safe cannabis cultivation and equal market opportunities. He is critical of Green Sage for saturating the market and hindering local business growth in Oakland.

Holding a micro-license for distribution and sales, Stewart benefits from an equity program that aids Oakland residents impacted by the War on Drugs with permits, grants and interest-free loans.

Stewart tried to use the Cannery’s commercial space for his license but was denied by the property owners. His efforts to rent other city spaces also ended in eviction.

“I can’t really afford to find a new place for my business license to hang up after being displaced by my last business operations location and then also having to try to juggle and figure out where I’m gonna be laying my head within the next three months after the Ellis Act eviction,” Stewart said.

Three years into their ownership, Green Sage defaulted on a $55 million loan from a Canadian private commercial mortgage lender, Romspen. The managers of Green Sage have since disappeared.

In September, Ellis Act evictions were served to residents of the Oakland Cannery enabling the landlords to take their properties off the market and remove all tenants.

According to Wikipedia, the Ellis Act is a 1985 California state law that allows landlords to evict residential tenants to “go out of the rental business” in spite of desires by local governments to compel them to continue providing rental housing.

Mark Mersel, an attorney who represents Romspen, states that after Green Sage defaulted on their loan, the mortgage company had to foreclose on the property.

He stated that many, if not all, of the current tenants at the Oakland Cannery had not paid rent or did not have valid leases with the property, and that they are all “basically squatters.”

“All Romspen is trying to do is get this property to operate, not be a blight on the neighborhood, and operate it for its industrial intended purpose,” Mersel said.

Monroe suspects the evictions were retaliation for lawsuits and complaints about unlivable conditions in the building and says he saw this coming from a mile away.

“The first day the landlords were on site they just openly said ‘we’re going to be removing you guys,’” Monroe said.

Eddie Ytuarte from the Oakland Tenants Union asserts that under the Ellis Act, unless the tenants were given relocation payments at the time of the notice, the eviction is invalid.

“A lot of things that landlords refuse to do are actual code violations,” Ytuarte stated. “For instance, if the plumbing is no good, or if the heat is insufficient, it’s breaking city codes and if the tenants are under rent control, they could petition for lower rents or they could sue in small claims court.”

Neither Stewart nor Monroe received relocation payments, only copies of checks via email.

Ytuarte suggested that tenants looking to fight eviction should seek pro-bono legal services or find an attorney who will take on the case for a much lower rate.

Monroe said that they tried those options, but to no avail. In other efforts, he and Stewart have hosted events to bring in city officials, like Mayor Sheng Thao and almost every Oakland City Council member to plead their case and find support from their resources.

A City of Oakland’s public information officer (PIO) wrote in an email to the Post that they have attempted to connect local developers who want to preserve the live-work space to the property owner, but the property owner has not shown any interest.

“The City has been working to protect the Oakland Cannery and other live/work communities from displacement pressure due to cannabis for many years. In 2018, the City adopted legislation prohibiting any type of cannabis business in live/work spaces. Then in 2023 it went further, prohibiting cannabis cultivation on any part of a property that contains work/live spaces,” said the PIO.

“Unfortunately, no local protections can prevent landlords from filing an eviction under the Ellis Act, as that is California State law,” the PIO concluded.

Councilmember Kevin Jenkins, who represents District 6 where The Cannery is located, stated that beyond moral support, there’s not much else that his office can do to help the residents.

“I think displacement has been a big issue in the last 15 to 20 years. We are losing a large share of our African American population from Oakland. A lot of them are being displaced and being forced to move outside of the county and outside the state,” Jenkins said.

Monroe and Stewart stopped paying rent in response to the mistreatment of Green Sage and the COVID-19 pandemic. The eviction moratorium protected tenants from eviction due to unpaid rent during the pandemic.

City ordinance states that in order for a property owner to terminate residency, they have to provide a good or just cause. The Ellis Act is considered a just cause.

Ultimately, it’s not about the buyout price for Monroe or Stewart. They want The Cannery to remain an affordable live-work space for artists.

“It’s more than just having a place to lay my head. It’s a place of advocacy. It’s a place for art to be preserved. For a culture to be preserved and for a community to be lifted,” Stewart said.

The post Monetary Failure by Oakland Cannery’s Landlord Results in Eviction of Longtime Residential Artists appeared first on DAILY SAN FRANCISCO BAY NEWS.

Every artist’s perspective is in some way shaped by the people who have surrounded them and the places they’re from. But for sculptor and performance artist Rose B. Simpson, painter, printmaker, sculptor, and collagist Jaune Quick-to-See Smith, and photographer Jeremy Dennis, the idea of home plays an especially urgent role in their work. All three are enrolled Indigenous American tribal members, and their practices don’t just honor their individual Native histories, cultures, environments, and traditions, they also seek to ignite conversations about historical oppression and the land theft their communities continue to face.

Both Simpson and Smith have had expansive exhibitions at New York’s Whitney Museum of American Art this year, symbolizing what is an encouraging yet long-overdue shift in how institutions are showcasing and giving platforms to art made by Indigenous artists.

A member of New Mexico’s Kah’p’oo Owinge tribe, Simpson is best known for her mixed-media sculptures of large-scale beings, which she creates using a traditional hand-coiled method that she learned from her mother, a potter. Five such sculptures, part of a larger work called Counterculture, are on view at the Whitney through January 21. Simpson’s next show, Skeena, opening on November 9 at Jessica Silverman in San Francisco, will debut 10 new beings alongside a hanging wall work.

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Smith, a Confederated Salish and Kootenai tribal member, had her first New York retrospective, “Memory Map,” at the Whitney this spring, bringing together nearly five decades of her work. Her latest curatorial effort, “The Land Carries Our Ancestors: Contemporary Art by Native Americans,” on view through January 15 at the National Gallery of Art in Washington, D.C., highlights work by a range of artists who deal with Indigenous knowledge of their natural surroundings.

Dennis is the founder of Ma’s House & BIPOC Art Studio, a nonprofit and artist residency located in his childhood home and birthplace on Long Island’s Shinnecock Indian Reservation, which provides a space for marginalized artists to create and engage with one another. His cinematic fine-art photographs, which comment on the misrepresentation of Indigenous people in American media, probe subjects such as identity, cultural practice, and the history of forced Native assimilation. Dennis’s ongoing project On This Site maps out and documents ancestral lands throughout Long Island.

Simpson, Smith, and Dennis recently connected to discuss how their physical and ancestral homes inform their work, effecting change in the art world, and why community-building is inherent to what they do.

ROSE B. SIMPSON: I don’t think I really knew how impacted by home I was as an artist. I had to leave my ancestral homelands where I grew up and was born, in northern New Mexico, to realize how important it is to me—that it is not just the people but the place that is family to me. I feel like that lack of consciousness around our beings, our physical and spiritual and social existence, keeps us from identifying and having respect for home.

“I’m so proud of the place I call home, and I try to bring that with me when I leave the reservation.” —Jeremy Dennis

JEREMY DENNIS: I’m from Shinnecock, born and raised. Everyone there is related. There are about 600 of us, more or less. As an artist and a tribal member, I’m so proud of the place I get to call home, and I try to bring that with me when I leave the reservation. One way I do that as an artist is by making portraits of some of my relatives. I do interviews. Sometimes they share stories of resilience and pride or conflict and strain on the community. There’s so much of our important history that isn’t represented in photos or paintings or inscriptions. So, my work is about showing that history is always relevant and that how we’re living today is informed by the path that our community has traveled and survived.

JAUNE QUICK-TO-SEE SMITH: I am a mixture of Métis-Cree and Salish and am from the northern border of the United States in Montana. I was born at the St. Ignatius Mission on the Flathead Reservation, at a time when one in 10 babies born there lived. My dad was a horse trader and moved around often; when we were down-and-out broke, we had to go to a reservation. My sister was born at Hoopa, and I lived at Muckleshoot and Nisqually. In Nisqually, we had a one-room cabin that didn’t have furniture. There were three families of us in there. We didn’t have indoor plumbing or electricity. I remember being sick all the time and always being hungry. That was a normal upbringing for someone my age. I knew early on that white people had different lives than we Indian people. It was so distinct. I’m still riffing off of that in my work and with all my Native friends. My home is with them. It is on the reservation. But I’ve been living here in New Mexico for quite a few years, and it’s like another home. I have family everywhere when I get together with all the Indian artists because they are my family too.

Jaune Quick-to-See Smith, Indian Madonna Enthroned, 1974, Collection of the Whitney Museum of American Art, New York, Purchased with funds from the Director’s Discretionary Fund, Fabricated by Andy Ambrose

Jaune Quick-to-See Smith

JD: One experience that keeps recurring for me, unfortunately—and I’m sure we all share it—is I’ll get invited to do a show during November, Native American Heritage Month, and then it’s quiet the rest of the year. I’m always trying to advocate for Indigenous inclusion. We can participate anytime. It’s so important for our art to be institutionalized. When I think about themes of joy and beauty in Indigenous art, I think they come out of approaching difficult subjects and conflicts in our history. When we talk about these things, it’s a form of healing. The arts, especially, bring together different communities, so when I see work about colonization or suffering, I think it’s a step in moving toward a better future.

JS: In all my 50 years of traveling and lecturing and sharing slides of contemporary art by Native people, George Floyd, Black Lives Matter, and Standing Rock have all changed the scene. All of a sudden, museums and galleries were like, “Oh, we’re not including everybody.” We’ve been saying that for 50 years now! All of a sudden, though, arts institutions have started giving out fellowships and grants to Native people, and my younger brothers and sisters are all having big, major museum exhibitions. That is so incredible. That never was there for us. Before I curated “The Land Carries Our Ancestors” for the National Gallery of Art, the museum hadn’t had a show on Native art in 30 years. When the Whitney contacted me, I think they were nervous about it. But it actually was a good exhibition; it brought people to the museum, and we got a lot of press, which was shocking to me. I don’t know how long this is going to last, it’s like manna from heaven. But I’m doing it, and I’ll keep doing it if I can get the door cracked so that I can bring my community in with me.

“We are so dynamic, and we come from so many different stories.” —Rose B. Simpson

RS: I think often about how those artists that came before us really did wedge that door. Someone said to me recently, “The water is rising for us all.” It’s rising, and we’re all floating together. I have the privilege to question whether the institution is the source of all power. Why do we give those colonial institutions the right to say we are someone and what we say is important? The reason that I feel grateful to be included in these exhibitions and spaces is that they reach the people I’m trying to have the conversation with. My work isn’t directed at my community here at Santa Clara; I’m trying to communicate something across a line that hasn’t been open to communication for a really long time. There are all these things—exploitation, stereotyping—that we all have to combat. I’m not Shinnecock, you know what I mean? I am not Salish. I’m a Pueblo person, and I’m from a specific pueblo, and I’m from a specific family. We are so dynamic, and we come from so many different stories. It’s so important to have that full spectrum of Indigenous experience in those spaces.

Installation view of “Rose B. Simpson: Counterculture” (Whitney Museum of American Art, New York, October 4, 2023–January 21, 2024)

Ron Amstutz

JS: They stereotype us. I remember when I was going around to all of these galleries and museums, talking about contemporary art by Native people, and they said, “What is that?” And I said, “Well, we are not what you would call traditional. We are not weaving blankets, and we’re not making silver jewelry, but we are making art from our own experience.” That’s the point. We make art from our own experience just like all the white artists do. And there isn’t one style for white artists, but they expect it to be one style for us. Jeremy’s making art and creating Ma’s House and doing all those wonderful things that are community-building. I think each of us in our own way realizes that we have to do some of that, we have to do both things. We tend our work, and then at the same time we reach out to each other and make plans to do stuff together. Part of it is having each other’s backs. Part of it is being a support system. Our lives and our work are so fragile because there aren’t millions of us.

“Our lives and our work are so fragile because there aren’t millions of us.”—Jaune Quick-to-See Smith

RS: The pieces at the Whitney right now are five from an original series of 12. They are set up outside on the museum’s roof, and they’re called Counterculture. The original spot for them was [supposed to be] at Plymouth Rock. What I wanted to say with the pieces was, “You’re being watched.” Most people forget that we’re being watched by things that we deem inanimate. I think one of the main reasons that colonization happened in the way that it did was that colonizers had forgotten they were being held accountable by beings beyond people. I had qualms about putting my work at Plymouth Rock. I felt like I didn’t have the right to speak on behalf of all Native people. The organizers were approached by the Wampanoag community, which said to them, “This isn’t who we want making this work there.” That was a blessing for me. Who am I, a Pueblo person from New Mexico, having this conversation about an experience that was very much not mine? The work then got installed in Williamstown, Massachusetts, in 2022, where we built some programming around it with the Stockbridge-Munsee Mohican community. It felt really good to move it to where it was wanted. Now the other seven pieces are at the John Michael Kohler Arts Center in Wisconsin. After they were moved, we took some of the clay from where the pieces were originally installed in Williamstown and made beads with the Wisconsin Stockbridge-Munsee community. We sat around and told stories and then fired the beads and made necklaces. That felt like the most important part of the whole exhibit. That piece taught me a lot about how to trust the art itself and where it needs to go.

Jeremy Dennis, untitled from “Sacredness of Hills,” 2020, Archival Inkjet Print, 30 x 40 in

Jeremy Dennis

JD: I do landscape photography, portraiture, and staged photography. I have a personal series from 2018 called “Rise,” and it’s all about reoccupying ancestral lands. It asks, what if Indigenous people never left? What if they’d continued to maintain their footprint and witnessed the transformation of the land, the colonization, the desecration of sacred sites? I also explore home in terms of expansion and abundance rather than being confined to the reservation. That’s just one of the unfortunate realities of growing up on a reservation; there are pluses, but at the same time, many tribal members never leave the territory. It becomes a small bubble of where we’re supposed to belong. We’re supposed to be not only invisible, but also non-existent. I think about what is owed to us and what we can still do to grant us that sense of home. Part of how I do that is through Ma’s House, which we started in 2020. It’s in an old family home on the Shinnecock reservation that was built in the 1960s by my grandfather, Peter Silva Sr. My mom and her five siblings grew up in it, and I did too, with my older sister. Probably 90 percent of my photography work gets done at residencies, so I wanted to offer that resource and space to other artists. Of course, it opened during a time of racial awakening in the nation, so it became a focus to support BIPOC artists. Since opening, we’ve had about 30 artists come through. We’ve had a couple of major exhibits. We’ve also had weekly workshops by my mother, including a leather-belt-making workshop. As we’ve been saying, new spaces are very much needed. Jaune, tell us about the show you curated this fall.

JS: The National Gallery of Art contacted me to curate a show there through my gallery. For two years, I worked on every committee that they offered, whether it was for the catalog, installation, or design. I had a road map in my head. For one, I wanted to make it about land, because the Land Back movement is front and center right now. I wanted the show to have parity between men and women and ages. There were limitations on the size of the space, so I came up with this idea: At home in Montana, we have checkerboard land. In 1887, the government came to the Flathead Reservation and divided up our land, which had been communal, and gave us allotments, which is not our way of life. Then they took the leftover land, put ads on posters for it in New York City, and invited people to come and farm it for free. So, for the exhibition, I made a checkerboard wall. It was my way of getting almost 50 people in the exhibition instead of 25. That’s our secret.

The post Three Indigenous Artists on Why Group-Constructing is Inherent to Their Work appeared first on DAILY SAN FRANCISCO BAY NEWS.

Art

Artsy Editorial

Each fall, as the art fair season resurges and galleries open ambitious new shows, a fresh cohort of burgeoning talent captures the art world’s attention. This season is no different, as many artists that have recently joined gallery rosters present debut solo shows, and many others mount new bodies of work to go on view at international fairs, including The Armory Show, Frieze Seoul, and Frieze London.

Here, we share 11 such artists who we’ll be watching this fall.

B. 1988, Daejeon, South Korea. Lives and works in Seoul.

Portrait of Woo Hannah by Lee Seungheon. Courtesy of Frieze.

Following her solo presentation at Frieze’s No.9 Cork Street space in London this spring, the Korean fiber artist Woo Hannah is set to have another major Frieze moment. She is the recipient of Frieze Seoul’s inaugural Artist Award and will present her winning commission, The Great Ballroom (2023), at the September fair, where she will also be featured in a solo booth with G Gallery.

The Great Ballroom continues “Milk and Honey,” Woo’s ongoing series featuring ornately draped swaths of fabric suspended from the ceiling. Like much of Woo’s work, this installation evokes the body with an intriguing combination of reverence and playfulness: The contours of the fabric suggest breasts, while brightly colored soft-sculpture baubles evoke dribbles of milk. Drawing inspiration from Rococo paintings by Jean-Honoré Fragonard and the like, Woo employs luxe, satiny material and decorative shirring that calls attention to its own beauty. In this work, Woo, preoccupied with ideas of aging and bodily transformation, invites viewers to question why the ridged layers of shirred fabric are widely seen as beautiful, while wrinkled skin is not.

Woo Hannah, Milk and Honey 5, 2023. Photo by Lee Seungheon. Courtesy of the artist.

Since completing her MFA at Korea National University of Arts in 2016, Woo has exhibited primarily in Seoul, including solo outings at G Gallery and Art Space BOAN earlier this year. In the spotlight at Frieze, she will be exposed to a wider international audience.

—Olivia Horn

B. 1992, Toronto. Lives and works in New York and Elgin, Canada.

Portrait of Keiran Brennan Hinton by Colin Outridge. Courtesy of Charles Moffett.

Keiran Brennan Hinton is firmly on the radar this fall. The Canadian artist presents a solo exhibition, “A Break in the Clouds” (September 8th–October 21st), at New York’s Charles Moffett, his first since the gallery started representing him last year. The artist’s dazzling paintings, produced en plein air, are becoming increasingly known to the international art world—his sold-out solo booth with Charles Moffett was a highlight of Felix Art Fair in Los Angeles in February; and he had 2022 solo shows at Tokyo’s Maki Gallery and Montreal’s Galerie Nicolas Robert. Plus, a large new painting of a sun-dappled living room was a focal point of Charles Moffett’s NADA New York booth this past May.

Brennan Hinton’s practice might be described as mining the beauty from the mundane. A true plein air painter, he is known to travel with paints in tow, at the ready to capture a lush patch of forest, a moonlit lake, or an unremarkable bedside table—and all with equal intensity. Across these slices of everyday life that Brennan Hinton preserves, there’s a distinctive flair for capturing light and, seemingly, slowing down time. Within these works we can see glimpses of (or perhaps tributes to) the forebears that inspire his practice, including Pierre Bonnard, Ann Craven, Lois Dodd, and David Hockney, among others.

Keiran Brennan Hinton, “A Break in the Clouds”

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This new show comes on the heels of Brennan Hinton’s participation in the Beecher Residency—the esteemed artist residency program established by collectors John Auerbach and Ed Tang that is known to nurture rising talent.

—Casey Lesser

B. 1941, London. Lives and works in Hastings, England.

Portrait of Laetitia Yhap by Sasha Gomeniuk, 2023. Courtesy of Hales Gallery.

Since the 1970s, Laetitia Yhap has painted scenes of the local fishing community in Hastings, on the southeast coast of England. Having moved to the coastal town from London in the 1960s, Yhap found inspiration in the industry of her new home, particularly in the way it has shifted over the course of her practice from traditional fishing tools, such as wooden boats, to modern alternatives, such as steel. Her canvases, which often take unconventional shapes suggestive of furniture paneling, depict unvarnished scenes of everyday industry in intimate, thoughtful depictions of the men and boys for whom the area is a hub of work and socializing.

Laetitia Yhap, “Keeping Company”

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Throughout her long career, Yhap’s work has been exhibited at U.K. institutions including the Serpentine, Hayward Gallery, and Whitechapel Gallery, and is also in the collection of the Tate, among others. Yet this fall marks a new direction for the 82-year-old artist, who recently announced representation with Hales Gallery in London, where her first solo exhibition at the gallery, “Keeping Company,” opens on September 2nd. This debut exhibition at the gallery will focus on hand-crafted panel paintings from the 1980s and ’90s, such as the painting that titles the show, an almost fresco-style large-scale narrative scene. It’s a scene of amicable quiet, with several men gathered around a fishing boat against a white-clouded sky—either engaged in work, or just idle thought. Yhap’s work will also be featured in Hales’s booth at Frieze London later this year.

—Josie Thaddeus-Johns

B. 1983, Araraquara, Brazil. Lives and works in São Paulo.

Portrait of Marina Rheingantz by Denise Andrade, 2022. Courtesy of White Cube.

Marina Rheingantz is set to mark her solo show debut in the U.K. with a prime slot at White Cube in Mason’s Yard during the course of London’s Frieze Week. “Maré,” which runs from October 10th through November 11th, caps a remarkable rise for the Brazilian artist, who was signed to the mega-gallery’s roster in August.

Rheingantz works with a variety of media, including paintings and tapestries, to evoke ambiguous, semi-abstract images of sea cliffs, bodies of water, mountain regions, and arid wastelands. Her paintings are often inspired by her childhood memories of growing up in rural Brazil, where she would often travel across the country and study the landscape. Dense with paint and often expansive in scale, these works are characterized by their rich surface texture and dissolution of image, reminiscent of Cy Twombly’s distinctive markmaking. In another series of smaller-scale tapestries, shown as part of “Sedimentar” at Fortes d’Aloia & Gabriel last year, she turns those brushstrokes into rhythmic stitches, scattered across an embroidered canvas.

Rheingantz studied fine arts at Fundação Armando Alvares Penteado in São Paulo. Her work has been exhibited in solo and group exhibitions at galleries and museums around the world, including the Museu Serralves in Porto, Portugal; the Taguchi Art Collection in Tokyo; the Pinacoteca de São Paulo; and the MAM Rio in Rio de Janeiro. In 2021, the artist had solo shows with Bortolami, FRAC Auvergne, and Zeno X Gallery. Recent collector demand for the artist’s work had reached new heights with the auction of Paisagem que Anda (2013), which sold for $107,950 at Sotheby’s in March.

—Arun Kakar

B. 1985 in Lomé, Togo. Lives and works in Philadelphia and Abuja, Nigeria.

Portrait of Modupeola Fadugba by Olivia Marwell. Courtesy of kó.

Modupeola Fadugba, Ballet Swimmers, 2022. Courtesy of the artist and kó.

Combining social practice with painting and drawing, Modupeola Fadugba’s arresting work wades into the complex cultural history of the swimming pool, plumbing its symbolism through the lens of different generations and geographies. The Togo-born artist has collaborated with the Harlem Honeys and Bears (a synchronized swim team for older adults), as well as younger swimmers in Nigeria, to create elegant renderings of bodies in water using acrylic, graphite, gold leaf, and burning techniques. The individual identities of her swimmers are often obscured, underscoring ideas of collectivity and cooperation.

Fadugba will exhibit a selection of these works in a solo presentation with Lagos’s kó at The Armory Show this month—a new highlight in her ongoing study of the pool. The subject has fueled her practice for many years: It took center stage in solo shows at Ed Cross Fine Art in London (2017) and Gallery 1957 in Accra (2018). More recently, Fadugba exhibited work from the “Synchronized Swimmers” series at this year’s Dallas Art Fair.

—O.H.

B. 1994, New York. Lives and works in New York.

Portrait of mosie romney by Mary Manning, 2023. Courtesy of P.P.O.W.

mosie romney, Arrival, 2023. Courtesy of the artist and P.P.O.W.

This fall will bring mosie romney’s first solo show with P.P.O.W, which announced representation of the artist in May of this year. Known for painting complex imaginary spaces that hover between figuration and abstraction, romney creates an immersive dialogue between reality and fantasy that challenges conventional understandings of time, memory, and self-perception. Utilizing their background in set design and puppetry to produce a unique painting style, romney masterfully orchestrates visual realms that invite viewers to rethink their emotional and cognitive boundaries.

In their upcoming solo show, titled “Rhizome St. / Fugue Avenue,” the artist delves deeper into their imaginative storytelling, referencing maps and interiors, particularly of opera houses, as well as symbols from cartoons, myths, and culture. This assembly of figures is set within landscapes that navigate the psychological terrains of alienation and transformation. With works already in the permanent collections of prestigious institutions like the Institute of Contemporary Art, Miami, and the Studio Museum in Harlem, romney is likely to see their reputation as a compelling voice in contemporary art grow this fall.

—J.T.J.

B. 1996, Surrey, United Kingdom. Lives and works in London.

Portrait of Pam Evelyn by Robert Glowacki, 2023. © Pam Evelyn. Courtesy of Pace Gallery.

Pam Evelyn, Fertility, 2022. © Pam Evelyn. Photo by Damian Griffiths. Courtesy of the artist and Pace Gallery.

Pam Evelyn is one of the driving forces behind the art world’s current focus on women artists working in abstraction. Since finishing the MA in painting program at London’s Royal College of Art in 2020, the young artist has experienced a swift ascent, capped off recently with the announcement of her representation with Pace and debut solo show with the gallery in London this September. Titled “A Handful of Dust” and on view from September 6th through 30th, the show will span two floors and promises an in-depth view of the artist’s compelling practice.

Evelyn’s painting method is intense. Over the course of several months, she takes a very physical approach to large canvases, deploying multiple rounds of painting, scraping, and painting again, working and reworking the medium until final, expressive marks seem to vibrate off the surface. Some works incorporate collage, with strips of canvas adding to the rich textures.

Pam Evelyn, Hidden Scene, 2022. © Pam Evelyn. Photo by Damian Griffiths. Courtesy of the artist and Pace Gallery.

The past few years have been eventful for Evelyn, as her works have been featured in solo shows at tastemaking galleries across Europe and the U.K., including MASSIMODECARLO (which works with her in Italy), The Approach, and Peres Projects.

Earlier this year, she was commissioned to create new etchings by Whitechapel Gallery on the occasion of the major exhibition “Action, Gesture, Paint: Women Artists and Global Abstraction 1940–1970.” Additionally, in 2023 thus far, her works have been included in two notable group surveys: “The Reason for Painting” at the Warwick Arts Centre, and “New British Abstraction” at the Center of International Contemporary Art in Vancouver, Canada.

—C.L.

B. 1995, Prince George’s County, Maryland. Lives and works in Baltimore.

Portrait of Sydney Vernon by Daniel Diasgranados, 2022. Courtesy of Kapp Kapp.

This fall, Baltimore–based artist Sydney Vernon will be presenting her first solo show at Kapp Kapp since joining the tastemaking gallery’s roster in January. The exhibition—her second solo show in New York—will showcase a fresh compilation of works on paper, marking Vernon’s first significant body of work since 2020.

With her nuanced use of pastel, colored pencil, and ink, Vernon takes viewers on an exploration of self and narrative that is deeply rooted in personal and generational histories. Vernon often begins her creative process with vintage family portraits or everyday moments captured in old photographs. She then expands from these initial images to integrate silhouettes from cultural and historical events, weaving together the personal and the universal into a singular tapestry of experience. Much like 1970s New York feminist artist Lorraine O’Grady—one of her inspirations—Vernon employs the diptych format to explore the dualities of truth and history to reflect her own unique viewpoint.

Sydney Vernon, Kitchen Table, 2023. Courtesy of the artist and Kapp Kapp.

For example, in Kitchen Table (2023), an ink and pastel from the upcoming Kapp Kapp show, Vernon captures a sense of intimate yet diffuse memory, with one of three central figures rendered in fine detail, leaving the other two more anonymous and their faces hard to pinpoint.

In New York, Vernon has previously been included in prominent group shows like “Black Femme: Sovereign of WAP and the Virtual Realm” at Canada Gallery in 2021, as well as a solo show at Thierry Goldberg Gallery in 2020. This year has seen Vernon gaining an impressive momentum: Her work was recently included in a group show at Sargent’s Daughters in L.A.—the first in its new space.

—J.T.J.

B. 1973, Shizuoka, Japan. D. 2005, Tokyo.

Portrait of Tetsuya Ishida, c. 1995. © Tetsuya Ishida Estate. Courtesy of the artist and Gagosian.

Tetsuya Ishida, Gripe, 1996. © Tetsuya Ishida Estate. Photo by Martin Wong. Courtesy of Gagosian.

With solo exhibitions spanning from the Asian Art Museum in San Francisco to the Museo Nacional Centro de Arte Reina Sofía in Madrid, and inclusion in prestigious events like the Gwangju Biennale and Venice Biennale, Tetsuya Ishida has gained considerable recognition since his death in 2005. His rising status was cemented by Gagosian’s recent announcement of its representation of the artist’s estate. Previously, the mega-gallery’s 2013 exhibition of Ishida’s work in Hong Kong broke new ground for the artist, drawing international attention to his oeuvre for the first time.

This fall will see the opening of a new solo show at the gallery’s New York space. “Tetsuya Ishida: My Anxious Self,” curated by Cecilia Alemani, will be the most extensive exhibition of Ishida’s work staged outside Japan. It coincides with what would have been the artist’s 50th birthday, adding an extra layer of significance to the show.

Tetsuya Ishida, Supermarket, 1996. © Tetsuya Ishida Estate. Photo by Martin Wong. Courtesy of Gagosian.

Ishida, whose career was tragically cut short, captured the nihilism and desolation emblematic of Japan’s “Lost Decade” in the 1990s. His surrealistic works, often featuring self-referential characters trapped in nightmarish, Kafkaesque scenes, dissect the dehumanizing impact of social and technological changes. These characters are often disturbing hybrids of humans, animals, and machines, serving as poignant allegories for a society in flux.

—J.T.J.

B.1988, Guangdong Province, China. Lives and works in Hong Kong.

Portrait of Trevor Yeung by South Ho. Courtesy of Gasworks.

Hong Kong–based artist Trevor Yeung is poised for a breakout moment with his first U.K. solo exhibition, “Soft ground,” which opens at Gasworks in London on September 28th and runs until December 17th. Venturing into the complex territory of social dynamics through botanic ecology, horticulture, and photography, Yeung’s installation works reshape how we understand power, control, and intimacy.

In the show, a scale soap cast replica of the infamous “fuck tree” of North London’s Hampstead Heath (which is worn smooth by frequent use) becomes a means to explore London’s gay cruising culture. Filling the gallery with an aromatic blend of earthy scents, Yeung’s sculptural installation will serve as an invitation to confront norms of desire, longing, and shame.

Trevor Yeung, research image for “Soft ground,” 2022–23. Courtesy of the artist.

Trevor Yeung, research image for “Soft ground,” 2022–23. Courtesy of the artist.

Having already made waves at major international events like the Singapore Biennale in 2022 (where he presented a site-specific installation of a greenhouse to house unwanted pandemic-purchased houseplants), Yeung’s rising status will be cemented further with his upcoming representation of Hong Kong at the 60th Venice Biennale in 2024. He was also recently shortlisted for The Sigg Prize 2023, which champions artists from the Greater China region.

—J.T.J.

B. 1993, London. Lives and works in London.

Alexander James, Vertigo, 2023. Courtesy of the artist.

This summer, Alexander James’s paintings were included in a group show of portraiture at Marlborough London alongside modern masters of the genre like Celia Paul, Lucian Freud, and Frank Auerbach. Now for fall, the gallery will feature the young artist’s work in a solo show entitled “Tuck Shop for the Wicked,” opening on September 23rd. The show will delve into his family history, expanding intimate memories using imagined scenarios across eight bright, gestural canvases.

The title of the show, for instance, references a sweet shop, like the one owned by the artist’s great-grandfather—a site of fascination for James, who only fully dedicated himself to painting during the pandemic. Compositionally, this new series of works is inspired by the artist’s early childhood visits to the British Museum, where he would admire the classical forms of busts, friezes, and entablature. These shapes create the basis for his vibrant canvases, which use sweeping, thick brushstrokes to conjure mixed-up, metamorphic forms.

As the artist’s star rises, with plenty of excitement from the London media and a growing Instagram following, he will see a second outing for his work in New York this autumn. A group show of abstract paintings, pairing him with artists like Rachel Garrard and Cleve Gray, will open at Room 57 Gallery in September.

—J.T.J.

Browse available works in the collection “Artists with Major Moments This Fall.”

Correction: A previous version of this article incorrectly stated that Sydney Vernon is based in New York. She is based in Baltimore.

The post 11 Artists Having a Main Second This Fall appeared first on DAILY SAN FRANCISCO BAY NEWS.

Congratulations. All the hard work, sleepless nights, and re-submitting your paperwork has finally paid off.

And now people in states and cities very different from where you live will be lining up to see you speak, tell jokes, and read from your transformative work. But here’s the catch: in order to perform at your best, you have to come on stage in the best of health.

With that in mind, I’m going to teach you how to eat on the go so you don’t die before you get to the stage — or have to read to an audience whose guts have you farting uncontrollably.

A long time ago, when my career was still in its infancy, I almost died of spitting on stage. I did that and survived, so you didn’t either.

“D, you’re awake!” Mr. James said, “C’mon boy, they’re waiting for you.”

“They” were 250 Bay Area teenagers. My first book, The Beast Side, just hit the New York Times bestseller list — and this gig turned my modest three-city tour into a whopping eight states, with a few paid gigs and a fresh-air feature with Terry Gross . Then a woman who worked in the San Francisco mayor’s office heard the Fresh Air interview and forwarded it to Mr. James. Three weeks later, I am presenting my work to a diverse group of Mr. James students who have read, studied, and loved The Beast Side.

“It’s all right, D,” said Mr. James. “Do you need something?”

“I’m fine, gijifijkwwndbdwnb!” I chopped as a mint green “Exorcist”-esque liquid squirted out of my mouth into a wastebasket. Mr James, now standing in the doorway behind me, said, “Man, what the hell!”

“I’m fine, I’m fine, let me start this mouthwash real quick,” I said, wiping the mucus off my face with a napkin. “I’m ready. Let’s go.”

“I can’t let the kids down, but more importantly, I’ve cashed your deposit — and I’m not giving a refund.”

“Oh damn no, your eyes are all grey,” Mr. James pushed back, grabbing my arm and throwing me into a chair. “You can’t go on.”

“But Mr. James,” I said, getting up slowly, “I have to go, I can’t let the kids down, but more importantly, I’ve cashed your deposit – and I’m not giving a refund.”

With that, I spat out what was left in my stomach and rinsed out what was left with water and more mouthwash. Then I went on stage and earned my money.

The event went well, my jokes caught on and the pressure to sell books eased as Mr James’ organization had already bought 300 copies for the children and staff. And if I had any doubts about my performance, those were dispelled by Mr James’ immediate offer to invite me back. But what went wrong anyway? How could a perfectly rational person like me even remotely pull off a perfect performance?

Well, the first rookie mistake was alcohol. I went out for maybe a round or eight, which led me to look for some bar food (rookie mistake #2) to feed the booze. I’ve never been to San Francisco, and I thought I was Anthony Bourdain, so I ate whatever they put in my face. snails? Secure. Tatar from an unidentifiable animal? Sure, West African elephant sliders? Secure. Unwrapped chicken wings and lobster eyeballs? Sure, sure, sure, sure. The problem is that Bourdain was paid to eat lobster eyeballs while D. Watkins was paid to be able to read and write. The filthy combination of everything coalesced into one giant germ inside me, causing me to annoy myself – in addition to Mr James and the rest of the internal staff. Never again.

I love a good cocktail like everyone else. Especially in a new city, but that’s bad for business. First of all, alcohol is poison and has two purposes: to distract you from what is important and to draw your attention to the aforementioned bar food.

I don’t know how bar food is made. Still, I wouldn’t be surprised if they rubbed the wings, the french fries, the pathetic vegetables they call “side salads,” and whatever scraper they had on the feces-covered kitchen floor before force-feeding the drunk. I’ve never eaten bar food before and then I woke up in the morning and said, “I’m excited to inspire 250 teenagers.”

I’m not a total quadratic. You can party along the way, but you must do it after all events, book signings, and dinners with faculty and staff have concluded. And if you’re lucky enough to be on a multi-city tour, don’t celebrate until your performances, readings and dinners with promoters and/or staff are over.

“The excitement of someone outside of Baltimore wanting to hear from me threw me out of character and made me eat crazy, but unfortunately the intense nausea and uncontrollable farts brought me back.”

My old self would never have been sick before coming on stage. I suffer from major trust issues, to the point that I would never eat at someone’s house, or whip up a blunt, or take a bite out of someone else’s plate because I thought someone and everyone would try to kill me . I know this is extremely unhealthy. However, if you want to stay healthy on tour, you have to adopt this mentality.

The organizers, the fan who baked you fresh cookies, and the professor from the fancy college who keeps saying, “Please take a sip of my extra dirty martini” — they’re all trying to kill you. Throw the freshly baked cookies in the trash as soon as the fan is out of sight because they are no good.

The excitement of someone outside of Baltimore wanting to hear from me threw me out of character and made me eat crazy, but alas, the intense nausea and uncontrollable farts brought me back. And I realized that the purpose is to do great work, to be entertaining, to be fun, and to be engaging, and that it takes a clear head to achieve those goals. Luckily I survived and San Francisco was good but it could have been great. The goal is always great.

So what do you eat and drink and what should you avoid?

Before we start the list, I recommend washing your hands at least 100 times a day. This may sound extreme, but I haven’t had a cold since Bush’s first presidency. Maybe I did, but I got over it so quickly I can’t remember because I wash my hands until my skin hurts and peels and falls off.

I know it sounds crazy, but we’re all adults here. We know coffee sends you to the bathroom 10,000 times a day — and bathrooms you don’t clean yourself are full of hundreds of thousands of germs that are making you sick and potentially preventing you from performing well.

To drink tea. Tea works, especially if you can order a cup of hot water and tear the wrapper off the tea bag yourself. This way no one touches the tea bag but you and you are safe as we know you have washed your hands more than often.

Fast food places are notoriously dirty. It should be called fast food because it makes you sick quickly. However, if you absolutely must eat at a fast food place because that’s the only option, see if they sell fruit or packaged produce. Bananas and oranges are the best because you have to peel them, which means you’re the only person touching them, and again, we know you’re clean because you wash your hands. Packaged salads work too, so if you’re at risk of eating withered, gross GM vegetables, you know they’ve been cleaned and sealed.

I would never recommend Starbucks for anything. However, they have locations in most cities and typically offer a selection of pre-packaged veggies and healthy chips.

The boiled egg, the boiled egg, the boiled egg—the boiled egg is king, queen, Beyoncé. The boiled egg is Beyoncé. It’s packed with protein, you can easily pop out the yolk and call yourself healthy, you can soft-boil it and call yourself fancy, and most importantly – most places do it with the shell, meaning you’re the only one is person touching it.

It is extremely important that you are the only person touching your food. I wish I had a long list of options to try, but I don’t. Our careers are delicate and the opportunity to showcase our work in front of strangers is truly a blessing. We don’t want to miss these opportunities because we had to try these St. Tacos at the stand down the street, with no plumbing — meaning you and the person who made that delicious street taco have nowhere to go can wash your hands.

Take pictures, drink as much as you like and explore the area when you’re on vacation and not working on the road. Because if you fail an event, that organizer will tell other organizers and you may not be re-booked.

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art world

The school will liquidate its assets to pay creditors, but the fate of its famous Diego Rivera fresco remains unknown.

• Taylor Dafoe

• April 27, 2023

Art Institute San Francisco. Courtesy of Getty Images.

The San Francisco Art Institute (SFAI), saddled with outstanding debt, has filed for Chapter 7 bankruptcy. The move will require the 151-year-old school to liquidate its remaining assets to pay creditors.

The submission marks what may be the final chapter in what was once an important institution declining operation in recent years finally closed its doors last July. However, one important question remains to be answered: What will happen to SFAI’s famous 1931 Diego Rivera fresco?

According to a report by Chronicle of San Francisco, The art school owes more than $10 million to various creditors. First up is the University of San Francisco, which is said to have owed more than $6 million after breaking up a deal to acquire SFAI last summer

The regents of the University of California and the Fort Mason Center for Arts and Culture, owners of SFAI’s two separate campuses, say they are owed $450,000 and $750,000 in unpaid rent, respectively. Also on the list of creditors are the many former faculty members who lost their jobs and are now owed severance pay.

Regarding her assets, SFAI reported in the filing that she owns a painting by noted Mission School artist Alicia McCarthy valued at US$125,000 and office equipment and art supplies valued at US$50,000. The real treasure of the school is the Rivera mural, estimated to be worth up to $50 million. However, it remains unclear whether the institution can sell the artwork to pay off its debt.

Diego Rivera’s mural at the San Francisco Art Institute. Courtesy of the San Francisco Art Institute.

In late 2020, SFAI’s board of directors voted to explore “avenues and offers for endowment or sale” of the fresco to save the school, and Star Wars creator George Lucas was even said to have been interested in acquiring it. But the move promptly met with backlash from students, alumni and community members. Photographer Catherine Opie, who graduated from SFAI in 1985, called the potential sale an “incredibly unscrupulous decision.” Open letter to the school administration.

The mural was later declared a San Francisco landmark. Therefore, it may not be relocated without the approval of the city council.

Supervisor Aaron Peskin, who sponsored the landmark legislation, said so timeline that he wishes to transfer the piece to a public gallery or museum.

SFAI’s legacy rivals that of any art school in North America. His list of Alumni and former faculty members reads as in the 20th century art history phone book with names like Ansel Adams, Annie Leibovitz, Mark Rothko and Kehinde Wiley. But for many, the school’s earlier heights made its steep — and messy — decline that much more painful.

In March 2020, following the mass closures of the COVID-19 pandemic, SFAI announced that it would suspend its degree programs, halt student enrollment, and close indefinitely. Weeks later, the institution’s board voted to keep the school open on a limited basis and launched a “campaign to refocus and reinvent the school’s business model.”

By July, the prospects seemed even brighter than that The school received over $4 million in donations. The board promised to resume its courses in the fall and invited students to re-enroll.

But the wave of support proved too little, too late. SFAI officially ceased operations in July 2022.

“The reality is that tuition-based schools of this size are a vanishing species,” said Gordon Knox, a former SFAI president timeline. “And there is no changing evolution.”

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Joanna Haigood, Love, A State of Grace (2022). Performance at Grace Cathedral, San Francisco. Pictured: Saharla Vetsch. Photo by Walter Kitundu.

In art and beyond, money is fundamentally based on trust. Our economic system works on the basis of society’s trust and enables cooperation and exchange. However, if we trust money itself, why is art philanthropy so largely lacking in trust in artists? The limited nature of many forms of grantmaking—such as project-based support—implies that we lack confidence in an artist’s ability to direct how they allocate funds to support their practice.

Enter trust-based philanthropy – a style of support characterized by reciprocity, transparency and unconditional funding. This is a model that has gained popularity throughout the philanthropic sector, but has not yet caught on in art. However, it offers a promising solution to artist trust and offers a model for deeper, more meaningful support.

Artists have been asking sponsors this question of trust for years, a dialogue that has significantly shaped the development the Rainin Scholarship– an annual program we created with United States Artists to honor four anchor artists in the San Francisco Bay Area with $100,000 in unrestricted grants and additional support. The Fellows can spend the money on anything they see fit. This approach recognizes that artists’ individual needs are different and they are the best experts on how to improve their practices. Whether they choose to spend the money on housing, healthcare, or future projects, our approach emphasizes autonomy and real impact, values ​​consistent with the trust-based philanthropy model.

The Rainin Fellowship embodies trust-based philanthropy and is rooted in the work of Trust-Based Philanthropy Project, A Five-year peer-to-peer funding initiative and platform addressing the inherent power imbalances between foundations and nonprofits. At the heart of this model is listening and learning. In establishing the Rainin Fellowship in the Bay Area, we worked with both national and local partners to better understand the needs of artists in our communities.

Portrait of Ted Russell, director of arts strategy and enterprise at the Kenneth Rainin Foundation. Copyright: Mitch Tobias. Courtesy of the Kenneth Rainin Foundation.

Our research partners at Helicon– a consultancy that works with artists, cultural leaders, philanthropists and other sectors to help mobilize the power of culture and creativity for an equitable and sustainable future— found that the top four concerns expressed by artists in the region across all disciplines and age groups were housing costs and displacement; the rising cost of living; a brain drain as artists move out of the region in greater numbers; and structural difficulties faced by artist-run organizations that struggle to recruit and retain staff.

Given longstanding issues relevant to the Bay Area’s arts ecosystem, the program was designed to address the changing needs of artists. Working across generations, practices, spaces and communities, each of our artist groups has different needs. Trusting them, communicating their experiences, breaking down funding barriers and giving them the space to offer new perspectives is crucial.

While this artist-centric approach emerged organically in our conversations with anchor artists in that particular region, we’ve found it resonates with larger conversations and shifts in the philanthropic landscape. Through the lens of trust-based philanthropy, we have discovered ways of emphasizing reciprocity and the redistribution of power in our relationships with artists, reimagining the traditional patron-artist dichotomy and transforming it into a partnership and amplifying values, which are noticeably absent from our current social framework.

These values ​​emerge at all levels of our community, beginning with the selection process. Through community nominations and peer and field review panels, decision-making for the community is decentralized and collaborative, harmonizing both local and national perspectives. United States Artists, which administers the program, provides applicants with detailed feedback and constructive criticism from the reader and panel reviews, allowing for transparency around the process itself. Finally, by providing unrestricted funding as well as complementary, tailored support – such as partnerships with web designers, videographers, financial planners, mentors, PR and communications experts, and archivists – the grant opens up an infinite realm of generative possibilities for further artists’ practices and furthers artists’ careers.

Joanna Haigood, Invisible Wings (1998). Performed at Jacob’s Pillow Dance Festival, Becket, Massachusetts. Pictured left to right: Paul Benney, Robert Henry Johnson, Amara Tabor-Smith and Ralph Rotondo. Photo by Christian Duggan.

This year’s Rainin Fellows explore the region’s history, amplify diasporic narratives, highlight systemic injustices, and honor and advance the Bay Area’s activist legacy. Through our close partnership with them, we have learned more about their process-centric work and see further evidence why project-based funding is not the only answer to artists’ structural challenges.

For example, the work of Public Space Fellow Related Tactics—an artistic collaboration founded in 2015 between artists and creators Michele Carlson, Weston Teruya and Nathan Watson—foreground transdisciplinary exchange and collective art-making, which has led to the group’s projects and conversations taking place across multiple timelines. Theater grantee Sean San José is also committed to the organic processes of collaboration and longstanding creative partnerships across Magic Theater that don’t necessarily follow a linear timeline. Similarly, film grantee Mohammad Gorjestani and dance grantee Joanna Haigood develop projects that are site-specific, iterative and engage members of their community. Whether collaborating with the Public Defender’s Office or with aspiring dancers at Zaccho Dance Theatre, the continuous and multifaceted nature of their practices requires flexible schedules.

Confidence in the artists’ unique processes, the methods they choose, and the longevity of their collaboration is a central pillar of the Rainin Fellowship. Through unlimited funding and additional support, we recognize that their impact lies not only in the individual projects they exhibit and execute, but also in the enduring legacy of their pioneering creative frameworks.

The very architecture of our grantmaking process is deeply rooted in what we have learned from artists and the cultural field in general – lessons about emotional intelligence, empathy and the tremendous impact that holistic support can have on artists’ lives. We believe the bursary’s trust-based model could serve as a blueprint for other cultural funders, demonstrating how meaningful support of individual artists can strengthen our local and regional arts networks as a whole.

If society’s relationship to money is one of trust, it is imperative for us as art patrons to also base our support of artists on trust. We challenge other funders in this space to reconsider how we can fuel creative innovation and enable artists to truly thrive by trusting artists—not only with unrestricted funding, but also by allowing them to share how we do can best support them.

Ted Russel is Director, Arts Strategy and Ventures for the Kenneth Rainin Foundation. He leads the Foundation for the Arts’ strategic direction, supporting diverse, visionary artists and working with artists, partners and funders to foster an equitable ecosystem.

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A pilot program scheduled to begin in May will guarantee more than 100 San Francisco artists $ 1,000 per month for six months after Stockton, Oakland and Marin Counties made similar efforts to help struggling residents during the pandemic support.

The Guaranteed Income Program, announced by Mayor London Breed on Thursday March 25th, is accepting applications from now until April 15th through the Yerba Buena Center for the Arts website.

“This program is one of several guaranteed income pilots we’re developing in San Francisco,” Breed told The Chronicle Recovery.

YBCA will administer the program and use a partially computerized system to determine eligibility to select 130 local artists, with the process being randomized in the later stages, said Deborah Cullinan, CEO of YBCA.

Deborah Cullinan, director of the Yerba Buena Center for the Arts, will help manage the funds under the new pilot program. Photo: Michael Short / Die Chronik

Qualifications for the program include being a San Francisco resident and being an artist “whose artistic practice is rooted in a historically marginalized community” which, according to Cullinan, does not exclude anyone from any cultural or racial group, but rather underrepresented artists Encourage communities should apply.

Artists are defined as “someone who actively engages with the community through music, dance, creative writing, visual arts, performance art, installation, photography, theater or film,” according to the program’s website.

Teaching artists and art educators as well as “culturally influenced craftsmen and doers” can also apply.

Applicants must have income below certain income limits to qualify: For a single person household, the income limit is $ 60,900; for a two-person household, the combined limit is $ 69,600. These income limits were determined by researching the best practices of other guaranteed income programs across the country, including Stockton, where 125 residents were given $ 500 a month and showed improved quality of life, according to a study commissioned by the city.

“Ultimately, we want everyone in San Francisco to live healthy, happy, and fulfilling lives without worrying about how to pay rent or get food on the table,” said Breed. “I am committed to making San Francisco a fairer, more just, and prosperous city, and we are investigating this guaranteed income model to see if it can help us achieve these goals.”

The pilot program is led by the Yerba Buena Center for the Arts. Photo: Jessica Christian / Die Chronik

The pilot program is a collaboration between the Office of Racial Equity at the San Francisco Human Rights Commission, YBCA, Grants for the Arts, and the San Francisco Arts Commission. The program is funded from the Arts Impact Endowment, established by Proposition E, an action reallocated in 2018 1.5% of the existing 8% hotel tax on art and cultural services, i.e. money jointly managed by the Arts Commission and Grants for the Arts.

In developing the program, YBCA worked with organizations such as SOMA Pilipinas, the Asian Pacific Islander Cultural Center, the Chinese Culture Center of San Francisco, the Dance Mission Theater, the Galería de la Raza, the San Francisco Bay Area Theater Company, the African American Art and Culture. together Complex and members of the Racial Equity in the Arts Working Group. Bay Area poets Tongo Eisen-Martin and Kim Shuck also worked closely with the groups involved for the pilot project.

“We talked about different ways we can reach BIPOC (Black, Indigenous and People of Color), the disabled, LGBT, displaced and below the poverty line,” said Rodney Earl, co-founder of the San Francisco Bay Area Theater Company Jackson Jr “Many artists fall into these categories.”

The San Francisco native Tongo Eisen-Martin helped develop the new pilot program. Photo: Jessica Christian / Die Chronik

The initiative is in line with the policy recommendations of the Economic Recovery Task Force of San Francisco, which the city issued in October 2020. The task force recommended identifying new sources of funding and revenue for the arts “to catalyze neighborhood recovery through the arts” and continue investing in color communities.

According to the San Francisco Arts Commission, the city’s creative sector generates $ 1.45 billion in economic activity annually and supports nearly 40,000 full-time jobs.

“COVID-19 has seriously threatened this important sector,” said Ralph Remington, the Commission’s director of cultural affairs, in a statement, “and the Guaranteed Income pilot is allowing artists to focus on their creative work through other programs like this one focus and support “the recovery of the industry as a whole.”

Cullinan said YBCA staff are prepared for a quick rollout despite an expected large influx of applications.

“We’ll be ready for direct deposits, writing checks to people, and working right away with people who don’t have a bank account,” she said.

After launching the pilot, YBCA plans to study the process and its impact on artists to see how the program can be better customized in the future.

“There are people living in difficult circumstances right now,” said Cullinan. “We want to act as quickly as possible to provide you with the resources you need.”

Apply: Visit www.ybca.org/guaranteed-income-pilot. The application deadline is April 15th.

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Yerba Buena Center for the Arts announces downsizing due to lost revenue during pandemic

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The city of San Francisco, in partnership with the Yerba Buena Center for the Arts (YBCA), has announced that it will grant 130 local artists $ 1,000 per month for six months as the arts scene there and around the world continues amid the ongoing Covid- 19 crisis. Funding, which comes from a $ 870,000 city scholarship approved by the San Francisco Arts Commission late last year, is administered by the YBCA and is open to individuals in all areas of the arts including the visual arts, music, dance, creative writing, Film, theater and art education. Applications are accepted by April 15, recipients will be notified by April 20, and first payments will be made in May.

To qualify, applicants must be able to provide proof of residency in any of the thirteen of the twenty-seven San Francisco zip codes that are known to have the highest number of Covid-19 cases, as well as meet other criteria. Applicants must have an annual personal income of less than $ 60,900 and demonstrate that their practice is “rooted in a historically marginalized community,” according to the YBCA website. The financing is not tied to any conditions; Recipients don’t have to use the money to produce a project or show how they spent it.

“From the day the pandemic hit San Francisco, we knew this health crisis was going to hit artists, and painters in particular,” said San Francisco Mayor, London Breed. “The arts are really critical to our local economy and are an integral part of our long-term recovery. If we help the arts recover, San Francisco will recover. “

Districts where resident artists are eligible for the scholarship include the hard-hit Bayview and Mission. Latinos in the mission in particular have suffered as a result: Although they only make up 15 percent of the population there, Latin Americans are so far responsible for 41 percent of Covid-19 cases and 21 percent of deaths in the district.

ALL PICTURES

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Below is a list of the best and leading tattoo artists in San Francisco. To help you find the best tattoo artists near you in San Francisco, we’ve compiled our own list based on this list of rating points.

San Francisco’s Best Tattoo Artists:

The top rated tattoo artists in San Francisco are:

• Black Serum Tattoo – offers bespoke tattoos with a full range of accessories and clothing
• Moth and Dagger Tattoo Studio – has a team of talented and creative tattoo artists who offer a one-of-a-kind tattoo experience
• Mission Ink Tattoo and Piercing – a team of tattoo artists and body modification professionals
• Dream Masters Custom Tattoos – was founded in 2006 and expanded to San Francisco in 2010
• Castro Tattoo – provides high quality tattoo services with bilingual artists ready to turn clients’ featured designs into reality

Black serum tattoo

Black Serum Tattoo offers bespoke tattoos with a full range of accessories and clothing. The tattoo artists specialize in etching, dot work, minimal line art and blackwork style tattoos. In addition, they offer an enjoyable tattoo experience with highly qualified professionals. They want to create a culture of upscale fine art tattoos. In addition, Brucios is the owner of the black serum, which specializes in fine blackwork and custom linework. His masterpieces also revolve around copperplate engravings and medieval illustrations. He has been studying and applying his knowledge for more than 30 years.

Products:

Tattoo artist

Location:

Address: 310 Valencia St, San Francisco, CA 94103
Telephone: (415) -909-9437
Website: blackserum.com

Reviews:

“Really the most pleasant tattoo parlor I’ve ever been to! In all honesty, the space was beautiful – super inviting and the decorating was an experience in itself. Our time at Black Serum was more than comfortable and there were COVID logs in place so everyone could stay and feel safe. I’m looking forward to getting my next piece here. ”- Bri Quinn

Moth and dagger tattoo studio

Moth and Dagger Tattoo Studio has a team of talented and creative tattoo artists who offer a one-of-a-kind tattoo experience. They use state of the art equipment to provide the best services in the area. In addition, they listen to the planned design of the customers. They make sure they fully replicate what they want. Mario Delgado created non-traditional tattoos that range from realism, cover-up, and illustrative styles. April Marino also runs the salon and works with Mario on the designs. The tattoo artists also create timeless works of art for different people of different origins.

Products:

Tattoo artist

Location:

Address: 610 Bush Street, San Francisco, CA 94108,
Telephone: (415) -834-5127
Website: mothanddaggertattoo.com

Reviews:

“I took a walk and went by and turned around. Joe was sitting there and I asked if he could bring me in. He did. I’m from Alaska, that was something special to me. The next day I went in and got another one. I will visit Joe again one day. I love what he does and I’m pretty picky. ”- Amanda Attla

Mission Ink Tattoo and Piercing

Mission Ink Tattoo and Piercing consists of a team of tattoo artists and body modification professionals. They have years of experience and create creative body art. In addition, they have different areas of expertise. Bruno Corvalan can be reached from Tuesday to Saturday. his work includes various portrait and non-traditional designs. Guilherme Assumpcao specializes in creating black, gray and floral design tattoos. In addition, Indy creates tattoos with cross hatches, mandalas and fine lines. She also loves to tattoo animals. There are other body modification artists who deliver less painful piercings.

Products:

Tattoo artist, piercing

Location:

Address: 2440 Mission St, San Francisco, CA 94110
Telephone: (415) -400-5785
Website: missioninksf.com

Reviews:

“I had a great experience here! The studio was clean and the staff was amazing. The prices are reasonable and very worthwhile for the quality of the work. Greetings to G for giving me a great tattoo. I look forward to coming back for more tattoos. ”- Jasmin G.

Dream Masters Custom Tattoos

Dream Masters Custom Tattoos was founded in 2006 and expanded to San Francisco in 2010. The tattoo parlor is committed to providing high quality tattoos and unparalleled customer service. In addition, they offer in-depth advice to avoid tattoo regrets. They also offer a draft version of the preferred tattoo. A picture of the client is added for a full vision session. In addition, they are constantly communicating with customers to get to know them better. It will help them understand the tattoo they want. You want to offer a tattoo that symbolizes a meaningful experience.

Products:

Tattoo artist

Location:

Address: 228 Columbus Ave, San Francisco, CA 94133
Telephone: (415) -277-7204
Website: dream-masters.com

Reviews:

“You took the time to work through a rough idea and come up with a creative plan. That was all the other tattoo shops had missed. The entire staff is friendly, the shop is super clean and their ideas and artistic skills are incredible. ”- Markus Czirban

Castro tattoo

Castro Tattoo provides high quality tattoo services with bilingual artists ready to turn clients’ featured designs into reality. The studio is LGBTQ + and POC friendly. In addition, there are 6 tattoo artists with different specialties available. Haley Adams, the owner of the studio, specializes in realism and colorful designs. Samantha Sue started tattooing in 2006. She creates tattoo designs with plants, animals and cartoons. Her designs also include portraits, watercolors, and psychedelics. In addition, Ian Reynolds only uses black ink, which enhances tattoo designs. Kristy and Jess designs revolve around floral and animal related designs. Meg uses the personal experiences of the customers.

Products:

Tattoo artist

Location:

Address: 3991 17th St, San Francisco, CA 94114
Phone: (415) -701-1970
Website: www.castrotattoo.com

Reviews:

“Haley Adams is AMAZING, she did a custom father daughter tattoo for me and it was amazing. I would definitely recommend Haley to anyone wanting a tattoo. ”- Matt Akeson

Jeanie Burford is a reporter for Kev’s Best. After graduating from UCLA, Amy did an internship at a local radio station and worked as a beat reporter and producer. Jeanie has also worked as a columnist for The Brookings Register. Amy covers business and community events for Kev’s Best.

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As a sister city Oakland pilots As the first guaranteed income program, San Francisco announced the launch of its own Universal Basic Income initiative. This one focuses on helping the city’s artists get to work during the COVID-19 pandemic.

Mayor London Breed (D) confirmed the start of the pilot last night.

We are now accepting applications for our new pilot, guaranteed income program for artists in San Francisco!

$ 1,000 / month for six months for 100+ eligible artists.

Find out more about the program and apply by April 15: https://t.co/WgrFfdSX1y pic.twitter.com/MuVZoC45c4

– London Breed (@LondonBreed) March 25, 2021

Artists who work and live in San Francisco generated approximately $ 1.45 billion in economic activity per person prior to the COVID-19 pandemic City data.

The program is administered by the Office of Racial Equity at the San Francisco Human Rights Commission.

Applications for qualified candidates opened on March 25th and have until April 15th to apply. Under the program, 130 eligible adult artists will receive $ 1,000 after a review process. The exact amount of funds allocated to each applicant will depend on the family members who are filed on each tax return.

“The arts are really vital to our local economy and an integral part of our long-term recovery. If we help the arts recover, the arts will help San Francisco recover, ”said Breed. “This new program is an innovative effort to help our creative industry navigate this challenging time and come back stronger and more resilient than before.”

BLACK LIVES MATTER ANNOUNCES NEW SURVIVAL FUND IN WAITING FOR COVID-19 AID

MOST AMERICANS LISTEN TO THE FEDERAL MINIMUM WAGE AT $ 15, THE SURVEY SAYS

THE ORDINARY PEOPLE WILL PAY FREEZING COSTS OF USD 50 BILLION IN TEXAS FOR DECADES

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