Dominic Willsdon announced on Wednesday that he is stepping down from his position as executive director of the Institute of Contemporary Art (ICA) at Virginia Commonwealth University.

“I have accepted a position as executive director of an international film organization based in Los Angeles,” the art curator and educator revealed in a letter emailed to supporters. The details of that new position will be revealed on Dec. 4, he added. He will remain at the ICA until January.

Willsdon, a native of the United Kingdom who received a doctorate in philosophy from the University of Essex, assumed his role at the modern art museum, as well as his position as associate professor of art history at the university, in late 2018. He had formerly been curator of education and public practice at the San Francisco Museum of Modern Art and, among other positions, served as curator of public programs at the Tate Modern from 2000-2005.

“Over its first five years, the ICA has become a portal to a world of new art and ideas for a diverse, rising generation of Richmonders and VCU students,” he wrote in his letter. “It is hard to leave the ICA and Richmond at this time. I have learned more about culture and society over these five years than at any equivalent period of my life. This experience has shaped me deeply.”

Willsdon took the helm from interim ICA director Joe Seipel, VCU School of the Arts’ dean emeritus, after original founding ICA director Lisa Freiman stepped down three months before the museum’s April 2018 opening. During his five-year tenure, Willsdon oversaw a heady, challenging mix of modern art, particularly from African and Latin American artists.

Under his leadership, the Institute was named one of the top 10 new museums in America by USA Today, and The New York Times, Smithsonian Magazine and ArtNet, among others, praised its often edgy exhibits and installations. In June, Willsdon announced that the ICA would bestow an annual $40,000 arts award starting next year, the Common Prize for Art and Education, made possible by a $500,000 gift from Richmond arts supporter Pamela Kiecker Royall.

“VCUarts is beginning the process of identifying an interim executive director and will announce that appointment in the coming weeks,” says Michael R. Porter, associate vice president for public relations at VCU. “The school will also be conducting an international search for the next permanent executive director.”

Willsdon did not respond to inquiries for further comment.

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The numbers are dispiriting: 68% of art museum workers have considered leaving the field, 74% cannot always cover basic living expenses, and it takes an average of 12 years before a worker receives a promotion. Turnover is high — art museums lost 30% of full-time employees hired between 2020 and 2022 — and rates were especially elevated among those making less than $50,000 a year.

Those are the findings of a new report, “Workplace Equity and Organizational Culture in U.S. Art Museums,” released Thursday morning by Museums Moving Forward (MMF), an advocacy group for equity in the museum sector. This is the first formal study from the group, which was co-founded in 2020 by Mia Locks, a former senior curator at the Museum of Contemporary Art Los Angeles, in collaboration with museum professionals from around the country. And it functions as a qualitative look at equity and workplace culture in museums, large and small, across the United States.

“Simply put, it is not enough to diversify the artists we are collecting or exhibiting; we must take better care of our people too,” the report’s authors write in the executive summary. “Ongoing union negotiations and social media outcries have made clear that the needs of workers are not being met. And, of course, the pandemic made a challenging situation even more dire, as the inequities have become ever more impossible to ignore.”

Museums espouse lots of high-minded ideas about the elevating power of culture, but as workplaces, they leave a lot — a lot — to be desired.

Numerous changes need to be made within. Unaddressed by the report is the external issue of patronage: Museums are largely funded by private philanthropists who are happy to put their names and hundreds of millions of dollars into fancy building projects but become scarce when it’s time to pay the workers.

As Christopher Bedford, then the director of the Baltimore Museum of Art (he’s now at the San Francisco Museum of Modern Art) told me in 2020: “Every museum director knows that it’s easier to raise money for the sexier initiatives than for the endowment intended to fund operations.”

If museums are going to stop — or at least slow — the staff burnout, that mind-set (along with funding structures) will have to change.

The ICA LA participated in the Museums Moving Forward study on museum work life. Seen here: Christine Sun Kim’s mural “Bounce Back” on the ICA LA building’s facade.

(Carolina A. Miranda / Los Angeles Times)

Museums Moving Forward surveyed 1,933 staff members from more than 54 institutions. This included major museums such as SFMOMA and the Fine Arts Museums of San Francisco, the Brooklyn Museum in New York and the National Gallery of Art in Washington, D.C. In L.A., sadly, participation was weak, with only the Institute of Contemporary Art Los Angeles and LA Plaza de Cultura y Artes choosing to take part in the study.

“Workplace Equity” adds to a growing body of research on museum work life. The Assn. of Art Museum Directors and the American Alliance of Museums publish regular reports that detail museum demographics and outline some of the pressing issues facing museum leadership. But the MMF report is unique in that it surveys leadership and staff to see how these institutions are collectively approaching their missions.

In an analysis of what drives institutional decision-making, for example, 85% of executive leaders said it was the institution’s mission, vision and/or values that served as guide. But when staff were asked that same question, 70% responded that what guides decision-making is “the museum board’s priorities.”

The report offers a laundry list of ways that institutions can improve conditions for their employees, including creating a workers “bill of rights,” offering more transparency around pay and implementing retention plans that include professional development. Another suggestion: “Provide more livable wages that can cover at least the cost of living.”

That last one is critical. Curatorial and other so-called intellectual leadership positions often require multiple advanced degrees, yet frequently pay entry level wages that qualify as low-income according to the Department of Housing and Urban Development. A salary survey published by the Assn. of Art Museum Directors in July shows that the median pay for a curatorial assistant is less than $51,000 a year; an assistant curator might earn almost $62,000 — salaries that qualify as low income in Los Angeles County.

Unionization campaigns and recent strikes across industries, including the museum field, have made the issue of a livable wage impossible to ignore. In Los Angeles, unionization campaigns have resulted in historic first contracts at MOCA and the Academy Museum of Motion Pictures over the last 16 months.

Last October, workers at the Philadelphia Art Museum went on strike over salaries and benefits. “You can’t eat prestige,” one museum worker told NPR. The museum and the labor union reached an agreement shortly thereafter.

A survey of art museum directors published last year by the research firm Ithaka S+R shows “providing a living wage” is a top priority among museum leaders, who are aware that diversity, recruitment and retention efforts rest on this. But as that report also notes, little has changed in terms of how budgets are allocated. Plus, labor already accounts for museums’ biggest operating expense at a time when there is a “heightened uncertainty” around funding.

The union representing workers at the Academy Museum of Motion Pictures (seen here) ratified its first contract late last month.

(Al Seib / Los Angeles Times)

That’s where funding structures come into play.

If the pandemic made anything evident, it’s the intense precarity experienced by public-facing workers at museums: guards, gallery attendants, visitors services associates, education workers and maintenance staff. (Basically everyone who keeps the place running day to day.) Not two weeks after the World Health Organization declared COVID-19 a pandemic in 2020, MOCA laid off 97 part-time employees; a month later, the Broad museum, across the street, laid off 130.

Greater public funding could provide some stability to museum workers.

The California African American Museum, for example, is funded by the state and staffers there are state employees, making them eligible for state benefits and pensions. None of the museum’s full-time staff was laid off during the pandemic.

Hybrid public-private partnerships can likewise offer public-facing workers more security, as with the system devised by the Fine Arts Museums of San Francisco (FAMSF), which includes the Legion of Honor and the de Young. Like many museums, the FAMSF has a private foundation that raises money to cover exhibitions, acquisitions and curatorial and executive salaries. But it also receives critical public support from the city.

Instead of money, FAMSF gets full-time personnel. The public-facing workers at its museums are city employees and their wages are negotiated by the powerful Service Employees International Union. Like other public employees, they enjoy a range of benefits, including healthcare, paid leave and pensions. When the pandemic struck, no one was laid off. And if someone wants to seek an opportunity at another municipal agency or museum, their time at FAMSF counts toward their years of service.

L.A. museums such as the Los Angeles County Museum of Art receive funds from county coffers: $28 million in 2019, according to the museum’s most recent 990 tax forms. (As my former colleague Mike Boehm once noted in a story, the museum’s most reliable patrons are the county’s 10 million residents.) The funding, however, comes in the form of money, not personnel, which means public-facing employees do not enjoy the job security of their counterparts in San Francisco. When the museum shut down in the early days of the pandemic, LACMA laid off a small group of workers, even as it moved forward with a behemoth $750-million rebuilding plan.

The de Young was one of several San Francisco institutions participating in the Museums Moving Forward study.

(Carolina A. Miranda / Los Angeles Times)

Where would additional funding come from to support museum workers? Certainly, we should press the private philanthropists, but a better idea might be to tax them.

In her 2022 book, “Museums and Wealth: The Politics of Contemporary Art Collection,” museum studies professor Nizan Shaked suggests levying a marginal tax on secondary art market sales to help fund museums. The price hikes on the resale of works can be stratospheric — think of every headline you’ve ever read about multimillion-dollar works being sold at auction. Now imagine a small tax on those sales going to a public museum fund. The idea, writes Shaked, “is to ensure those who profit from the field pay for its sustainability.”

Whatever the solutions, the problem is one museum boards and patrons can’t afford to put off for much longer. “Art museums are not struggling to find diverse workers,” states the Museums Moving Forward report, “they are struggling to retain them.”

Museums are often described as temples of culture, and as the reports notes, they could be “incredible spaces of collective growth.” But recent labor troubles have revealed institutions that feel less like temples and more like Amazon distribution centers. It’s time to invest — not just in buildings and objects but also in the people who care for them day in and day out.

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NEARLY THREE DOZEN Black curators and arts leaders accepted new appointments at an array of museums and arts institutions in the first half of 2023. Notably, Brooke A. Minto was appointed executive director and CEO of the Columbus Art Museum in Ohio. She joined the museum from the Black Trustee Alliance for Art Museums, where she was the inaugural executive director, playing a critical role in the influential organization’s foundational work to diversify art museum boards. Michelle Commander became deputy director of the Smithsonian’s National Museum of African American History and Culture in Washington, D.C., and Jova Lynne returned to the Museum of Contemporary Art Detroit as artistic director.

Culture Type began reporting annually on new appointments of Black curators and arts leaders in 2016, in order to get a sense of representation in museums, with an emphasis on art museums. Museum leaders, curators, conservators, and educators shape the management and intellectual direction of institutions, determine the art visitors see and the programming they experience and, by extension, whether audiences of color feel welcome.

RECENT APPOINTMENTS: Clockwise, from top left: Renée Mussai (The Walther Collection), Rasu Jilani (Brooklyn Arts Council), Lauren Cross (The Huntington Library, Art Museum, and Botanical Gardens), Brooke A. Minto (Columbus Museum of Art), Gamynne Guillotte (San Francisco Museum of Modern Art), Tandazani Dhlakama (Zeitz Museum of Contemporary African Art), Jordana Moore Saggese (David C. Driskell Center), and Ryan N. Dennis (Contemporary Arts Museum Houston)

The Mellon Foundation and Ithaka S+R have been researching staff demographics in North American art museums since 2014. Their most recent report was published in November 2022. “Though progress remains slow and uneven, the demographics of museum employees across the country are becoming more reflective of the diverse communities their organizations serve,” Mellon Foundation President Elizabeth Alexander said in the foreword. The summary findings stated:

Museum leadership and conservation positions, while growing more diverse, have not exceeded one-fifth POC representation overall. Over 40 percent of younger staff and newer hires are POC. In the aggregate, the demographic changes in museum staff are primarily due to increases in staff from three backgrounds: Hispanic, Asian, and those who are Two or More Races. While there has not been a significant increase in Black staff in the aggregate, between 2015 and 2022, the number of Black staff in museum leadership has more than doubled, while tripling in information technology and quadrupling in curatorial positions.

Last year, Culture Type’s list of new appointments was biannual for the first time, divided into two parts. This approach continues in 2023. This first installment covers announcements made from January through June. In addition to museums, the roundup notes appointments at a selection of nonprofits and publicly funded organizations, including foundations and scholarly institutions that support and train artists and participate in the larger art ecosystem.

For instance, the International Center of Photography (ICP) in New York named Colette Veasey-Cullors dean and deputy director of its school. ICP described Veasey-Cullors as the “first BIPOC leader of ICP’s school.” Renée Mussai is the first-ever artistic director and new chief curator at the Walther Collection, the photography-focused art foundation based in Germany and New York. Rasu Jilani joined the Brooklyn Arts Council as executive director. At the University of Maryland’s David C. Driskell Center, Jordana Moore Saggese was brought on as director.

The following Culture Type list of new curatorial and arts leadership appointments focuses on U.S. institutions and includes a handful of international organizations. This first installment of 2023 appointments features 34 new hires and promotions. The vast majority are women. (The appointments are arranged in chronological order according to announcement dates). The list is not comprehensive, but it is representative:

JANUARY

Taylor Jasper. | Photo by Natalie Zeta

Taylor Jasper, Assistant Curator of Visual Arts. | Walker Art Center, Minneapolis, Minn.

At the start of the New Year, the Walker Art Center announced Taylor Jasper was joining the museum as assistant curator of visual art. Previously, she was a curatorial associate at The Momentary. Located in downtown Bentonville, Ark., The Momentary is a contemporary satellite of the Crystal Bridges Museum of American Art. Prior to The Momentary, Jasper served as a curatorial research assistant at the Virginia Museum of Fine Arts in Richmond (2017-20). Her appointment at the Walker was announced on Jan. 10 and she officially started on Jan. 25.

Michelle Commander. | Photos Courtesy Smithsonian NMAAHC

Michelle Commander, Deputy Director. | Smithsonian’s National Museum of African American History & Culture, Washington, D.C.

The National Museum of African American History and Culture (NMAAHC) announced a new deputy director on Jan. 10. Michelle Commander officially joined the Smithsonian museum in the No. 2 role on Jan. 30. She helps lead the overall management and strategic planning and development of NMAAHC. Previously, Commander spent four and a half years at the New York Public Library’s Schomburg Center for Research in Black Culture in Harlem, serving most recently as deputy director of research and strategic initiatives. In an earlier role, she was a tenured associate professor of English and Africana studies at the University of Tennessee in Knoxville.

Tawanda Appiah. | Photo by Lamia Karić

Tawanda Appiah, Curator 2023-2025. | Skånes konstförening, Malmö, Sweden

On Jan. 11, Skånes konstförening announced Tawanda Appiah would serve as curator 2023–2025. The curator position at the nonprofit art association is a time-limited opportunity, allowing the vision of each curator to shape the artistic direction and main exhibition program during their tenure. An independent curator, researcher and writer from Zimbabwe, Appiah is based in Malmö. He has previously worked on projects at Skånes konstförening, collaborating with curator Simona Dumitriu (2018-20) and organizing To Where Are We Beautifully Going, a series of performative talks, lectures, and film screenings in September and October 2022. Appiah’s first exhibition as curator at Skånes konstförening opens at the end of September.

“I am so honored to return to Skånes konstförening, the place that has in so many ways rooted me in Malmö. I am excited to create a dynamic and engaging programme that fosters collaboration and serves as a platform for artists and art practitioners to work and experiment. I believe that art has the power to rouse curiosity, interrogate, and reveal complexities, and I hope to actively support these processes. I am looking forward to opening doors to the audience and adding to the vibrant city of Malmö.”
— Tawanda Appiah

Sheree Carter-Galvan

Sheree Carter-Galvan, Chief Legal Officer. | Andrew W. Mellon Foundation, New York, N.Y.

The Mellon Foundation hired Sheree Carter-Galvan as chief legal officer and secretary of the board of trustees. Her appointment was announced in early January. Carter-Galvan joined the foundation from the American Museum of Natural History in New York, where she served as senior vice president and general counsel. Previously, she was senior associate general counsel at Yale University. Mellon makes transformational investments in the arts on a variety of fronts, among them, providing grants for new public monuments, preservation of historic sites, Latinx artists, and artists impacted by incarceration. Mellon has also served as lead funder of initiatives to diversify art museum leadership, study demographic representation in art museum staffing, and acquire and digitize the Ebony and Jet Photography Archive.

Chantal Drake. | Courtesy Birmingham Museum of Art

Chantal Drake, Deputy Director. | Birmingham Museum of Art, Birmingham, Ala.

A native of Huntsville, Ala., Chantal Drake joined the Birmingham Museum of Art (BMA) as James Milton and Sallie R. Johnson Deputy Director on Jan. 17. Since 2019, Drake was director of development and communications at the Dixon Gallery and Gardens in Memphis, Tenn. Previously, she served as director of communications and communications associate at Dixon. At BMA, Drake oversees the Finance and Facilities, People and Culture, and Design and Technology departments. The news was announced on Jan. 13.

Douglas Gilmore. | Courtesy Museum of London Docklands

Douglas Gilmore, Managing Director. | Museum of London Docklands, London, UK

On Jan. 13, the Museum of London named Douglas Gilmore managing director of the Museum of London Docklands. He started in April. Gilmore leads daily management and strategy for the Docklands museum, which “tells the story of the port, river and city—focusing on trade, migration and commerce in London” and houses the London, Sugar and Slavery gallery, exploring the history of the transatlantic slave trade in the UK. In previous roles, Gilmore has worked at Ashmolean Museum of Art and Archaeology and the National Gallery, where he was trading director (2009-2020).

FEBRUARY

Tifferney M. White. | Photo Courtesy Association of Children’s Museums

Tifferney M. White, CEO. | Louisiana Children’s Museum, New Orleans, La.

The Louisiana Children’s Museum (LCM) announced the appointment of its new CEO, Tifferney M. White, on Feb. 1. Previously, White was chief learning officer of Discovery Place, which includes four museums located in and around Charlotte, N.C., focused on science and the natural world. In an earlier role, she was president and CEO of Discovery Children’s Museum in Las Vegas. White is a member of the executive committee of the Association of Children’s Museums, where she serves as governance and nominating chair. She started at LCM on March 1.

Lauren Cross. | Photo courtesy The Huntington

Lauren Cross, Associate Curator of American Decorative Arts. | The Huntington Library, Art Museum, and Botanical Gardens, San Marino, Calif.

On Feb. 6, The Huntington Library, Art Museum, and Botanical Gardens announced the appointment of Lauren Cross as the Gail-Oxford Associate Curator of American Decorative Arts. The museum’s decorative arts collection includes furniture, sculpture, ceramic, glass, metalwork and textiles from the 18th, 19th, and 20th centuries. Previously, Cross was an assistant professor and program coordinator of interdisciplinary art and design studies at University of North Texas in Denton, Texas. She started at The Huntington near Los Angeles, in January.

“I have always admired the range and quality of The Huntington’s decorative arts collection. At the same time, I am thrilled to join the team at this important moment to help build out areas of the collection and fill important gaps with respect to representation. I’m looking forward to creating new stories with the Gail-Oxford collection and working collaboratively with curators at The Huntington to help visitors—both on-site and online—better understand and appreciate the nuances of American decorative arts.” — Lauren Cross

Leah Van der Mei. | Courtesy California Academy of Sciences

Leah Van der Mei, COO and Head of Government Affairs. | California Academy of Sciences, San Francisco, Calif.

On Feb. 9, the California Academy of Sciences named Leah Van der Mei chief operating officer and head of government affairs. Van der Mei has worked at the Academy since 2008 and was serving as director of public operations and access when she was promoted to her current role. Based in San Francisco’s Golden Gate Park, the Academy is a research institute and natural history museum that houses a world-class aquarium and planetarium.

Renée Mussai, 2022. | Photo © Christa Holka

Renée Mussai, Artistic Director and Chief Curator. | The Walther Collection, Neu-Ulm, Germany and New York, N.Y.

London-based curator, writer, and art historian Renée Mussai joined The Walther Collection as its inaugural artistic director and new chief curator. The appointment was announced Feb. 17. Mussai has dedicated her career to African and Afro-diasporic Black feminist and queer visual arts. Over the past two decades, she was senior curator and head of curatorial and collection at Autograph, London, where major projects focused on Zanele Muholi, Phoebe Boswell, the Black presence in 19th and 20th century Britain, and the first-ever retrospective of James Barnor (2010). At the same time, Mussai developed a notable independent practice that spans international curating, publishing, writing, and teaching. She has also served as a curatorial adviser to The Walther Collection, which focuses on modern and contemporary African and European photography. Based in Neu-Ulm, Germany, the art foundation has a project space in New York City, and presents traveling exhibitions worldwide.

“I am thrilled to be joining The Walther Collection and feel both honored and privileged to lead the next chapter of this remarkable cultural resource, building on the foundation’s profound commitment to supporting a diverse constituency of artists working in lens-based media, and amplifying the collection’s exceptional dual scholarly and curatorial remit.”
— Renée Mussai

MARCH

Brooke A. Minto. | Photo courtesy Brooke A. Minto

Brooke A. Minto, Executive Director and CEO. | Columbus Museum of Art, Columbus, Ohio

On March 13, the Columbus Museum of Art tapped Brooke A. Minto to lead the institution. She started as executive director and CEO on May 15. Minto is an arts administrator, art historian and educator with two decades of experience across museums and arts organizations. Most recently, she served as inaugural executive director of Black Trustees Alliance for Art Museums in New York.

“I am inspired and energized by the prospect of engaging a new cultural community rich with history and driven by excellence. I am honored to lead an institution that is deeply embedded in its community, committed to positive social change and dedicated to nurturing creativity and imagination. I look forward to partnering with the staff, board and community to ensure that CMA remains a relevant and meaningful institution for generations to come.” — Brooke A. Minto

Suhaly Bautista-Carolina. | Photo Courtesy American LGBTQ+ Museum

Suhaly Bautista‑Carolina, Director of Public Programs and Partnerships. | American LGBTQ+ Museum, New York, N.Y.

Suhaly Bautista‑Carolina joined the American LGBTQ+ Museum as inaugural director of public programs and partnerships. The appointment was announced on March 13. A community organizer and arts educator, Bautista‑Carolina was previously senior managing educator of audience development and engagement at The Metropolitan Museum of Art. The LGBTQ+ Museum is in its early stages and currently incubating with the New-York Historical Society. The Ford Foundation and Swann Auction Galleries are among its institutional supporters.

“I am thrilled to join the incredible team at the American LGBTQ+ Museum, and to contribute to the vision and mission of what will undeniably be a space of learning, joy, liberation, transformation, and community. Together, we will co-create a Museum where public programs and partnerships are an authentic reflection of our core principles.” – Suhaly Bautista-Carolina

Rasu Jilani. | Photo by Stephanie Mei-Ling

Rasu Jilani, Executive Director. | Brooklyn Arts Council, Brooklyn, N.Y.

The Brooklyn Arts Council announced on March 13 that Rasu Jilani was the organization’s new executive director. An independent curator and producer, Jilani brings more than 15 years of experience working in Brooklyn’s cultural sector and creative community. Previously, he was a cultural network curator at the Lambent Foundation and director of recruitment and community engagement at NEW INC, the New Museum’s art and tech incubator. As the founder of Coup d’état Arts, he has also organized exhibitions and served as a producer for Afropunk.

Joey Quiñones. | Photo by Destini Ross

Joey Quiñones, Head of Fiber Department. | Cranbrook Academy of Art, Bloomfield Hills, Mich.

Cranbrook Academy of Art named Joey Quiñones head of the Fiber Department and artist-in-residence. The news was announced March 23. They start in September. An artist and educator, Quiñones works with variety of materials exploring African American and Caribbean history and complexity of Afro-Latinx identity. Quiñones is joining Cranbrook from Alfred University in Alfred, N.Y., where they served as assistant professor of sculpture and founded Fibers and Mixed Media Studio in Sculpture/Dimensional Studies Division. Previously, Quiñones taught English for 17 years at Earlham College in Richmond, Ind.

Jade Packer. | Photo by J Caldwell, Courtesy Nasher Museum of Art

Jade Packer, Director of Community Initiatives. | Nasher Museum of Art, Duke University, Durham, N.C.

Duke University’s Nasher Museum of Art appointed Jade Packer director of community initiatives, effective March 1. She previously handled strategic engagement in PBS North Carolina’s education and innovation department. In a newly created role at the Nasher Museum, Packer is “building and sustaining meaningful relationships and partnerships, with a focus on leaders and organizations that serve diverse communities in Durham.” The news was announced on March 27.

Redell Hearn. | Courtesy New Orleans Museum of Art

Redell Hearn, Chief Educator. | New Orleans Museum of Art, New Orleans, La.

On March 27, Redell Hearn was named chief educator at the New Orleans Museum of Art (NOMA), a newly created position leading the museum’s Learning and Engagement department. Previously, Hearn was founding director of the Department of Academic Affairs at the Mississippi Museum of Art in Jackson. Earlier, she was curator of history at the California African American Museum in Los Angeles. Her first day at NOMA was Feb. 6.

Jova Lynne. | Photo by Clare Gatto

Jova Lynne, Artistic Director. | Museum of Contemporary Art Detroit, Detroit, Mich.

Jova Lynne is the inaugural artistic director of the Museum of Contemporary Art Detroit (MOCAD). Announced on March 28, the appointment was effective April 3 and marked a return to the museum for Lynne. She first joined MOCAD as a Ford Foundation curatorial fellow in 2017 and became Susanne Feld Hilberry Senior Curator in 2019. Through the pandemic and against the backdrop of MOCAD coming to terms with a leadership problem and staff complaints about racism and “exploitative labor practices,” Lynne departed in spring 2020. After the museum’s board vowed to bring about change with a focus on equity, she returned to her position as senior curator in September 2020. In February 2022, Lynne joined Temple University in Philadelphia as director of exhibitions and public programs at the Tyler School of Art and Architecture. In her current role, she is co-leading MOCAD with Marie Madison-Patton, who has served as the museum’s COO since Jan. 1.

“Detroit is a city that is close to my heart and has played an integral role in my growth as a curator and artist. Returning to a city and institution that I love and that has shaped the trajectory of my practice is a great honor. I am thrilled to rejoin the museum and its hard working team as we present our Spring 2023 exhibition program. And I look forward to working with Marie as we steward MOCAD’s legacy of presenting the best in contemporary art.” — Jova Lynne

Shakia Gullette Warren. | Photo courtesy Black History Museum & Cultural Center of Virginia

Shakia Gullette Warren, Executive Director. | Black History Museum and Cultural Center of Virginia, Richmond, Va.

On March 29, the Black History Museum and Cultural Center of Virginia (BHMVA) announced a new executive director. After a yearlong search, Shakia Gullette Warren joined the museum as it marked its 40th anniversary and faced critical decisions about what to do with 13 Confederate monuments removed from display throughout Richmond. In 2021, the city officially transferred ownership of the contentious public symbols to BHMVA. A graduate of Fisk University with more than a decade of experience as a public historian, Warren previously served as director at The Concord House Museum and Historic Site in Prince George’s County, Md. She started a BHMVA on May 1.

“I am truly honored to serve in this capacity and follow in the footsteps of the changemakers who came before me. BHMVA is a remarkable institution with an extremely talented team with deep roots in Richmond’s community, and I look forward to fully immersing myself into Virginia’s rich culture and leading the institution into its next transformational stage.” — Shakia Gullette Warren

Colette Veasey-Cullors. | Photo by Jay Gould

Colette Veasey-Cullors, Dean and Deputy Director. | International Center of Photography, New York, N.Y.

The International Center of Photography (ICP) announced on March 29 that Colette Veasey-Cullors had been named dean and deputy director of ICP’s school. She brings three decades of experience as an educator, artist, and photographer, joining ICP from the Maryland Institute College of Art (MICA) in Baltimore, where she was interim vice provost for undergraduate studies. Previously, Veasey-Cullors was associate dean for the Division of Design and Media and chair of the Photography Department at MICA. Earlier, she was a tenured associate professor and Photography Area coordinator at Howard University. ICP described Veasey-Cullors as the “first BIPOC leader of ICP’s school.” She started June 15.

APRIL

Tandazani Dhlakama. | Courtesy Zeitz MOCAA

Tandazani Dhlakama, Curator. | Zeitz Museum of Contemporary African Art (MOCAA), Cape Town, South Africa

After more than three years as an assistant curator at Zeitz MOCAA, Tandazani Dhlakama was elevated to curator in February. She first joined the museum in 2017 as education manager. Her promotion was one of four appointments announced by the museum in April. At Zeitz MOCAA, Dhlakama curated “Five Bhobh: Painting at the End of an Era” (2018), assisted with the retrospective “Tracey Rose: Shooting Down Babylon” (2022), and co-curated “When We See Us: A Century of Black Figuration in Painting,” a sweeping exhibition currently on view through Sept. 3. Dhlakama co-curated the 13th edition of Bamako Encounters, the African Biennale of Photography (2022). Previously, she was curator of education and public programming at the National Gallery of Zimbabwe.

Lungi Morrison. | Courtesy Zeitz MOCAA

Lungi Morrison, Institutional Advancement Director. | Zeitz Museum of Contemporary African Art (MOCAA), Cape Town, South Africa

Zeitz MOCAA announced four new appointments in April, including Lungi Morrison the contemporary art museum’s new institutional advancement director. Over the past two decades, Morrison has held several senior roles in the international tourism and cultural sectors, among them country manager for South African Tourism in London and head of communications at Gauteng Tourism Authority in Johannesburg. Most recently, she was a project manager at the Goethe-Institut in Johannesburg. In the announcement, Zeitz said Morrison is “a Pan-African multi-linguist, passionate about contributing to thriving cultural creative economies and institutions throughout the Continent and Diaspora.” She joined the museum in March.

Nia Amadife. | Courtesy Dallas Museum of Art

Nia Amadife, Director of Human Resources. | Dallas Museum of Art, Dallas, Texas

Nia Amadife joined the Dallas Museum of Art as director of human resources in January. Most recently, she was global HR business partner & practice lead at Childfund International, a nonprofit with a mission to help children around the world grow up healthy, educated, and safe from hunger, violence, disease, and neglect. In the April appointment announcement, the Dallas museum noted that key aspects of Amadife’s new role include being an “internal champion for staff” and driving the institution’s DEI initiatives and goals “to be inclusive, equitable, fair and welcoming to the entire community.”

Jordana Moore Saggese. | Photo courtesy David C. Driskell Center

Jordana Moore Saggese, Director. | David C. Driskell Center for the Visual Arts and Culture of African Americans and the African Diaspora, University of Maryland, College Park, Md.

The David C. Driskell Center hired Jordana Moore Saggese as its next director, effective July 1. Saggese is a professor of American art at the University of Maryland, expert on artist Jean-Michel Basquiat, and former editor-in-chief of the College Art Association’s Art Journal. She succeeded artist, printmaker, and educator Curlee R. Holton, who had led the center since 2012. The new appointment was announced April 14. Established in 2001 to honor the legacy of Driskell, a professor emeritus at the University of Maryland, the center focuses on the collection, documentation and presentation of African American art. The Driskell Center’s archives include the papers of Driskell, Alonzo Davis, and Michael D. Harris, among others. Recently on view at the center, the exhibition “RINGGOLD | SAAR: Meeting on the Matrix” was developed and curated by Saggese’s graduate students.

“David was among the first to write the history of African American art; he is a legend in our field. For that reason and so many more, this is an incredibly rewarding opportunity for me.… My goal is to capitalize on the incredible international reputation the center has at a moment when there is increased attention on the importance of research in Black studies and Black culture, and on the contributions of African American artists,” she said. “It’s an extremely exciting time to come on board.” — Jordana Moore Saggese

Denise Ryner. | Photo by Marcus Maddox

Denise Ryner, Curator. | Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pa.

On April 17, ICA Philly announced Denise Ryner had been appointed to the position of Andrea B. Laporte Curator, effective immediately. A Canadian curator and writer, Ryner was most recently director and curator at Or Gallery in Vancouver, Canada (2017-22). She also served concurrently as associate guest curator at Haus der Kulturen der Welt (HKW) in Berlin, beginning in 2016.

Ryan N. Dennis. | Photo by Charles A. Smith

Ryan N. Dennis, Senior Curator and Director of Public Initiatives. | Contemporary Arts Museum Houston, Houston, Texas

Contemporary Arts Museum Houston (CAMH) named Ryan N. Dennis senior curator and director of public initiatives on April 25. Previously, Dennis was chief curator and artistic director of the Center for Art & Public Exchange at the Mississippi Museum of Art (MMA) in Jackson, where she co-curated the traveling exhibition “A Movement in Every Direction: Legacies of the Great Migration.” In an earlier role, she served as curator and programs director at Project Row Houses in Houston. Dennis officially started at CAMH in June.

Gamynne Guillotte, 2019. | Photo by Christopher Myers, Courtesy SFMOMA

Gamynne Guillotte, Chief Education and Community Engagement Officer. | San Francisco Museum of Modern Art, San Francisco, Calif.

On April 26, the San Francisco Museum of Modern Art (SFMOMA) announced the appointment of Gamynne Guillotte, who joined the museum’s leadership team as Leanne and George Roberts Chief Education and Community Engagement Officer. Previously, Guillotte held several positions at the Baltimore Museum of Art, where her tenure began in 2013 and her most recent role was chief education officer (2018-23). She officially started at SFMOMA on June 23.

MAY

Aaron Myers. | Courtesy DC Commission on the Arts and Humanities

Aaron Myers, Executive Director. | DC Commission on the Arts and Humanities, Washington, D.C.

The DC Commission on the Arts and Humanities (CAH) named Aaron Myers executive director. A jazz vocalist, pianist, educator, and activist, Myers is the founding board chair of the Capitol Hill Jazz Foundation. He had been serving as acting CAH commissioner since March 27 and was confirmed to a permanent appointment by the DC Council on May 2.

“I am excited to be given the opportunity to serve this community, in this capacity, at this moment… I look forward to working together, along with Mayor Muriel Bowser, to meet the moment for our creatives, and to truly reinforce to the world that DC is the District of Creatives, the Creative Capital of this Country.” — Aaron Myers

Keondra Bills Freemyn. | Courtesy Black Lunch Table

Keondra Bills Freemyn, Archives Director. | Black Lunch Table

On May 4, Black Lunch Table (BLT) announced a new archives director, welcoming Keondra Bills Freemyn. A Maryland-based archivist, published author and poet, and Wikipedian, she founded The Black Women Writers Project, a digital archive initiative. She is a Society of American Archivists Digital Archives Specialist, and has worked on oral history and archives projects with the Library of Congress, Smithsonian, New York Public Library, and DC Public Library. A U.S.-based, artist-founded nonprofit, BLT organizes artist roundtables and community roundtables, preserves the conversations in an online oral history archive, and hosts Wikipedia edit-a-thons focused on representation of significant Black figures in the visual art world.

Shadawn Smith. | Courtesy Bedford Stuyvesant Restoration Corporation

Shadawn Smith, Executive VP for Arts and Culture and Executive Director. | Bedford Stuyvesant Restoration Corporation and The Billie Holiday Theatre, Brooklyn, N.Y.

The Bedford Stuyvesant Restoration Corporation (Restoration) named Shadawn Smith executive vice president for arts and culture and executive director of The Billie Holiday Theatre in Brooklyn, effective June 1. The appointment was announced May 9. Established in 1967, Restoration is the nation’s first community development corporation. Smith is responsible for all arts and culture initiatives and programming on the campus of Restoration, across visual art, drama, music, and dance, including leadership of The Billie Holiday Theatre. In March, The Billie was awarded a National Medal of Arts by President Biden. Previously, Smith was a vice president at NYC & Company, the women’s clothing retailer, and served for five years as manager of government affairs at the Metropolitan Museum of Art.

JUNE

Katherine C.M. Adams. | Photo by Michael Valiquette/EMPAC

Katherine C.M. Adams, Assistant Curator. | Curtis R. Priem Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy, N.Y.

The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) appointed Katherine C.M. Adams as assistant curator. She will work on a variety of curatorial projects and public programming across performance and time-based arts. The news was announced June 1. Adams officially started at EMPAC in May. A curator, writer, and researcher, Adams was exhibition manager of New York’s inaugural The Immigration Artist Biennial (TIAB) in 2020 and is a co-curator of the forthcoming TIAB (September 2023). She has also been a curatorial fellow at the KW Institute for Contemporary Art in Berlin, Germany, and a curatorial research assistant at Hessel Museum of Art in Annandale-on-Hudson, N.Y.

Michelle Ebanks. | © Shahar Azran, Courtesy The Apollo

Michelle Ebanks, President and CEO. | The Apollo, New York, N.Y.

On June 6, the Apollo, the historic theater in Harlem, announced Michelle Ebanks would become its next president and CEO. Ebanks started in July. She succeeded Jonelle Procope, who over the past two decades transformed the landmarked Apollo theater into a contemporary cultural and civic nonprofit institution embarking on a full-scale renovation. Ebanks spent more than 22 years at Essence Communications, rising to CEO of the magazine and media and communications company under Time Inc. She began her career at Time Inc., as general manager and financial director of Money magazine. Earlier, Ebanks was corporate business manager for 13 titles under Condé Nast.

“I’m thrilled to be joining the iconic Apollo at such an important time in its trajectory. The Apollo continues to have such a profound impact on Black culture—and American culture—locally, nationally and internationally. It is such an exciting time as it expands its physical footprint, doubles down on supporting artists at every stage in their careers, collaborates with partners across Harlem and the world, and offers a platform for the voices of African American artists across the diaspora.” — Michelle Ebanks

Lindsay Catherine Harris. | Photo by Jessye Herrell

Lindsay Catherine Harris, Co-Director. | Recess, Brooklyn, N.Y.

On June 8, Recess announced a new co-director: Lindsay Catherine Harris. Based in Brooklyn, N.Y., Recess provides community, resources, and an exhibition platform for underrepresented artists, including people of color, women, and those who identify as LGBTQ+ and non-gender conforming. Recess programs support the development of new work, critical writing commissions, and opportunities for young artists involved in the criminal justice system. Harris succeeds former co-director Allison Freedman Weisberg, who founded Recess in 2009, led the organization for 14 years, and stepped down in December 2022. An artist, social justice advocate, cultural worker, and educator, Harris spent nearly a decade at the Brooklyn Museum, first coordinating teen programming and then rising over the years to director of education. Harris’s tenure at Recess began in June, serving as co-director with artist Shaun Leonardo, who joined the organization in 2020.

Meg Onli. | Photo by Bryan Derballa, Courtesy Whitney Museum

Meg Onli, Curator-at-Large. | Whitney Museum of American Art, New York, N.Y.

The Whitney Museum of American Art announced the appointment of writer and curator Meg Onli as curator-at-large on June 20, the same day she officially started. Last fall, Onli was tapped as co-curator of the 2024 Whitney Biennial. Previously, she was director and curator of the Underground Museum, for a few months before the Los Angeles museum closed indefinitely in March 2022. In a prior position, Onli was an associate curator at the Institute of Contemporary Art (ICA) at the University of Pennsylvania.

“This is truly a dream job. I have always admired the Whitney’s long-standing history of field-defining exhibitions and support for emergent artist practices. I am very excited to be part of the life of the Whitney, and to collaborate and explore with the incredible team here. I am also so appreciative of the flexibility of the role, which affords me the opportunity to focus on the creative and bring new ideas and perspectives to the Museum.” — Meg Onli

Jennifer Francis. | © Museum of London

Jennifer Francis, Director of External Affairs. | Museum of London, London, UK

On June 23, the Museum of London announced the appointment of Jennifer Francis as director of external affairs, overseeing the communications, digital innovation, and development teams. Francis has worked internationally at several museums. Most recently, she was director of brand and marketing at Grounds For Sculpture in Hamilton, N.J. (2020-23). She also held positions at the Louvre Abu Dhabi, Philadelphia Museum of Art, and Royal Academy of Arts in London, where she was head of press and marketing for eight years. CT

EXPLORE MORE Culture Type appointment highlights from the first half and second half of 2022

EXPLORE MORE Culture Type has previously reported on annual curatorial and arts leader appointments, dating from 2016

FIND MORE In May, The Alice L. Walton Foundation, Ford Foundation, Mellon Foundation, and Pilot House Philanthropy committed $11 million over five years to fund a Leadership in Art Museums (LAM) initiative intended “to increase racial equity in leadership roles such as curators, conservators, collections managers, community engagement staff, educators and other senior leaders….” Nineteen museums received 2023 awards

FIND MORE In November 2022, the Mellon Foundation and Ithaka S+R released a third survey of North American art museum staff demographics. (Summary)

FIND MORE Also in November 2022, the Art Fund in the UK published “It’s about handing over power,” a report examining curatorial staff diversity in the UK arts and heritage sector, from 1998 to 2021 (Summary)

FIND MORE Another informative survey was conducted by The Art Newspaper in 2021, providing insights from more than a dozen museums about efforts to diversify staffs, exhibition programming, collections, and audiences

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The post Transferring On Up: 34 Museum Curators and Arts Leaders Who Took on New Appointments in First Half of 2023 appeared first on DAILY SAN FRANCISCO BAY NEWS.

New spins on old roasted chestnuts, food drives with rumbling bass, drag in all its myriad joyful forms, punk rock hurrahs, even a little “Acid Xmas” —check out the below if you’re looking for a little tinsel-time.

THU/15: HOLIDAY GAIETY SF Symphony conductor Edwin Outwater and drag goddess Peaches Christ just slayed London’s Royal Abert Hall with their holiday extravaganza, don’t miss this annual cavalcade of queer entertainers (Sister Roma, Monet X-Change, Marga Gomez, Jocquese Whitfield, many more) donning their gay apparel and jingling all the way, backed by a full orchestra. The Symphony has a whole lineup of fun seasonal programs, including Harry Connick, Jr, and a Merry-achi Christmas, make sure to check out their site. 7:30pm, Davies Symphony Hall, SF. More info here.

THROUGH DECEMBER 23: GOLDEN GIRLS LIVE: THE CHRISTMAS EPISODES The heavenly Miami quartet is channeled by beloved local drag queens to raucous effect in this annual tradition. Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose), and Holotta Tymes (Sophia) sass up the Christmas punch with Christmas kaftans to die for. Victoria Theater, SF. More info here.

THROUGH DECEMBER 31: THE KINSEY SICKS: OY VEY IN A MANGER More drag holiday hijinks! “America’s Favorite (and only) Dragapella® Beautyshop Quartet returns home to NCTC for the holidays. In this bawdy and blasphemous musical, Angel, Winnie, Trixie, and Trampolina are trying to sell off their manger–yes, that manger—before it’s foreclosed upon. Crises arise, secrets are revealed, Jewish-Gentile tensions surface, and mayhem ensues, all in glorious four-part harmony.” New Conservatory Theater, SF. More info here.

THU/15-SAT/17: KILLING MY LOBSTER’S VERY SPECIAL HOLIDAY SPECIAL Forget Charlie Brown and the Grinch — Killing My Lobster, the self-described “eggnog of sketch comedy troupes,” are brewing up a hilariously schmaltzy parody holiday variety show and performing it for you. Read our full review here. PianoFight Oakland, more info here.

Dance-Along Nutcracker

SAT/17 + SUN/18: DANCE-ALONG NUTCRACKER I love this event so much, and it’s perfect for the whole family. The 75-piece San Francisco Lesbian/Gay Freedom Band performs selections of the famous Tchaikovsky score—now wrapped around a tale of a blizzard in San Francisco—and gets you up marching, whirling, clapping, and more. YBCA, SF. More info here.

SAT/17: FRINGE HOLIDAZE BASH The Fringe party at Madrone Art Bar has been reviving the indie-dance sounds of the 2000s since that decade ended. DJs Blondie K and subOctave invite you to don your glittery shutter shades and jingle some electro bells during a special holiday edition of the event. 9:30pm, Madrone Art Bar, SF. More info here.

A Very Merry Misfit Cabaret

SAT/17: A VERY MERRY MISFIT CABARET The fabulous Kate Robichaud and her merry band of singing, dancing, flying misfits bring out all the sparkle—and Gremlins, and Star Wars, and Grinches—of the solstice in this cavalcade of wow. 8pm, Alcazar Theater, SF. More info here.

SUN/18: BAYMELE KLEZMER TRIO This trio’s name means “little tree” in Yiddish, and in observance of Hannukah the group is keeping traditional Ashkenazi Jewish music alive, performing klezmer compositions that build on the traditional sounds of Poland, Ukraine, and Romania. 4pm, St. Alban’s Church, Albany. More info here.

12/22: A NOT-SO-SILENT NIGHT Turn up the bass—and benefit the SF Firefighter’s holiday drive with canned food, toys, and clothing—at this pumping party. DJs Años b2b Singe, Bubblephunk, Dalfin, and Nunya put some rumble under the tree at this top-notch community event. The $10 cover goes straight to help others. 10pm, Temple, SF, more info here.

12/23: ACE’S SPACE RADIO XMAS XTRAVAGANZA Forget coal, it’s time for all the punks to get some rock in their stocking, with Fuzz Attack, TV Static, and Heat blowing some flaming guitar solos up your chimney, presented by omnipresent host Ace of Space Radio. 8:30pm, Amado’s, SF. More info here.

12/24: ACID XMAS Three of the wiggiest local DJs in the game—Solar, Mozhgan, and Tyrel Williams—get the stars twinkly with a celebration of acid house. Interzone DJs Hex Embrace, Saiman Li, Brandon Stewart, and Visc get dark in the back room. Perfect antidote for holiday schmaltz. 9:30pm-3am, F8, SF. More info here.

12/23-12/25: KUNG PAO KOSHER COMEDY Thirty years in and comedian Lisa Geduldig’s fantastic “Jewish comedy on Christmas in a Chinese restaurant” event is still killing it (kosherly). In-person ticket sales end December 15, but you can watch online from the comfort of your own menorah-lit home via Youtube if you miss the deadline. More info here.

The post Arts Forecast: 12 festive occasions to place a little bit jingle in your jangle appeared first on DAILY SAN FRANCISCO BAY NEWS.

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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The post Philanthropy in Nearly Each Sector Is Transferring Towards Unrestricted Funding—Besides within the Arts. Why Is It So Arduous to Belief Artists? appeared first on DAILY SAN FRANCISCO BAY NEWS.

Netflix’s “Stranger Things” and HBO’s “Euphoria” and “The White Lotus” led the field Sunday with five wins apiece on the second night of the 2022 Creative Arts Emmy Awards, handed out Sunday at the Microsoft Theater in Los Angeles.

Netflix’s “Squid Game” took home four trophies, including the history win for guest actress in a drama series for Lee You-mi. HBO had the largest haul of the night among platforms with 17, followed by Netflix (11), Hulu (8) and Apple TV+ (4), including two wins for its buzzy freshman drama series “Severance.”

RELATED: 2022 Creative Arts Emmys Winners List, Night 1: ‘Adele: One Night Only,’ Super Bowl Halftime, ‘The Beatles: Get Back’ Dominate

ABC’s “Abbott Elementary” kicked things off with the win for casting in a comedy series. HBO’s “Barry” and Hulu’s “Only Murders in the Building” both collected three wins, including guest actor in a drama series for Nathan Lane’s turn in “Only Murders.”

“Euphoria’s” haul included guest actor in a drama series honoros for Colman Domingo. The “Walking Dead” alum, who is also an accomplished playwright, was emotional after winning his first Emmy. Domingo expressed gratitude to those who helped him along the way and that told reporters backstage taht his win “represents humble people from West Philadelphia,” in a nod to his roots.

The wins for “Stranger Things” included the nod for music supervision, for Nora Felder. She was pressed backstage by reporters about the show’s role in the massive resurgence in popularity of the 1985 hit “Running Up that Hill,” by Kate Bush. Felder, who steered the show’s many needle drops, said it was a good fit with the 2022 zeitgeist.

“A lot of people are relating to the song. I think children are having to go through lots of feelings of isolation. The song allows them to kind of express how they’re feeling,” Felder said.

The sounds of “The White Lotus” were celebrated with wins for sound mixing, music composition and main title theme music. The wry HBO dramedy also prevailed for single-camera picture editing for limited series and for casting for a limited or anthology series or movie.

With her victory for guest actress in a drama series, “Squid Game” actor Lee Yoo-mi notched another notable win for the Korean-language drama that was a massive sleeper hit for Netflix last year.

“Holding it (the Emmy) now feels very heavy,” she told reporters backstage, through a translator. “It almost feels like a sense of heavy responsibility that I haven’t practiced. I want to be able to do more with it moving forward.”

As for why “Squid Game” took off with global viewers last year, Lee Yoo-mi observed, “it’s because at that time, people wanted a show like this.”

Overall, winners were announced in 48 categories. Sunday’s marathon followed Saturday’s presentation of awards for unscripted content. The Creative Arts Emmys precede next week’s 74th annual Primetime Emmy Awards ceremony, hosted by comedian Kenan Thompson, to air live Sept. 12 on NBC.

Highlights of the Sept. 3 and Sept. 4 Creative Arts Awards ceremonies will be featured in a special to air at 8 p.m. on Sept. 10 on FXX. It will be available for streaming on Hulu from Sept. 11-27.

Here’s a full list of Creative Arts winners from Night 2. (Winners in bold.)

(Pictured above: Colman Domingo, guest actor in a drama series winner for HBO’s “Euphoria.”)

Outstanding Actor in a Short Form Comedy or Drama Series

WINNER: Tim Robinson as Various Characters, “I Think You Should Leave With Tim Robinson” • Netflix • Netflix

Anacostia • YouTube • Southeast Boy Productions, LLC Anthony A. Anderson as Sean Williams-Grey

Immoral Compass • The Roku Channel • All Things Comedy, Irwin Entertainment Bill Burr as Rick

State Of The Union • SundanceTV • See-Saw Films in co-production with Sundance TV Brendan Gleeson as Scott

Words With Ike (Cake) • FX • FX Productions Ikechukwu Ufomadu as Ikechukwu Ufomadu

Outstanding Actress in a Short Form Comedy or Drama Series

WINNER: Patricia Clarkson as Ellen, “State Of The Union” • SundanceTV • See-Saw Films in co-production with Sundance TV

Intersection • YouTube • Messmerize Entertainment Jacinte Blankenship as Jenaya

Desi Lydic Foxsplains • YouTube • Central Productions, LLC Desi Lydic as Desi Lydic

Cooper’s Bar • YouTube • Liam Films, AMC, AMC Networks Content Room Rhea Seehorn as Kris Latimer

Bridesman • YouTube • rubbertape Sydnee Washington as Judith

Outstanding Casting for a Comedy Series

WINNER: “Abbott Elementary” • ABC • Delicious Non-Sequitur Productions in association with Warner Bros. Television and 20th Television Wendy O’Brien, CSA, Casting by

Barry • HBO/HBO Max • HBO in association with Alec Berg and Hanarply Sherry Thomas, CSA, Casting by Sharon Bialy, CSA, Casting by

Curb Your Enthusiasm • HBO/HBO Max • HBO Allison Jones, Casting by Ben Harris, Casting by

Hacks • HBO/HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Jeanne McCarthy, CSA, Casting by Nicole Abellera Hallman, CSA, Casting by

Only Murders In The Building • Hulu • 20th Television Bernard Telsey, CSA, Casting by Tiffany Little Canfield, CSA, Casting by T

Ted Lasso • Apple TV+ • Apple presents a Doozer Production in association with Warner Bros. Television and Universal Television Theo Park, Casting by

Outstanding Casting for a Drama Series

WINNER: “Succession” • HBO/HBO Max • HBO in association with Project Zeus, HyperObject Industries, Gary Sanchez Productions (Avy Kaufman, CSA, Casting by; Francine Maisler, CSA, Original Casting by)

Euphoria • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch Jessica Kelly, CSA, Casting by Mary Vernieu, CSA, Casting by Bret Howe, CSA, Casting by Jennifer Venditti, CSA, Original Casting/Location Casting by

Ozark • Netflix • MRC for Netflix Page 4 Ozark • Netflix • MRC for Netflix Alexa L. Fogel, CSA, Casting by Tara Feldstein Bennett, CSA, Location Casting Chase Paris, CSA, Location Casting

Severance • Apple TV+ • Endeavor Content / Red Hour Productions in association with Apple Rachel Tenner, CSA, Casting by Bess Fifer, CSA, Location Casting

Stranger Things • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix Carmen Cuba, Casting by Tara Feldstein Bennett, CSA, Location Casting Chase Paris, CSA, Location Casting

Yellowjackets • Showtime • SHOWTIME Presents, Entertainment One Junie Lowry Johnson, CSA, Casting by Libby Goldstein, Casting by Corinne Clark, CSA, Location Casting Jennifer Page, Location Casting

Outstanding Casting for a Limited or Anthology Series or Movie

WINNER: “The White Lotus” • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. (Meredith Tucker, Casting by; Katie Doyle, Location Casting)

Dopesick • Hulu • 20th Television, Danny Strong Productions, John Goldwyn Productions, The Littlefield Company Avy Kaufman, CSA, Casting by Erica Arvold, CSA, Location Casting

The Dropout • Hulu • Searchlight Television, 20th Television Jeanie Bacharach, CSA, Casting by Mark Rutman, Casting by Alison Goodman, CSA, Casting by

Inventing Anna • Netflix • A Netflix Series in association with shondalandmedia Linda Lowy, CSA, Original Casting by Jamie Castro, CSA, Original Casting by Allison Estrin, CSA, Casting by Henry Russell Bergstein, CSA, Casting by Juliette Ménager, Location Casting Simone Bär, CSA, Location Casting Alexandra Montag, Location Casting

Pam & Tommy • Hulu • Hulu, Annapurna Television, Point Grey Pictures Mary Vernieu, CSA, Casting by Lindsay Graham Ahanonu, CSA, Casting by

Outstanding Choreography for Scripted Programming

WINNER: “Euphoria” • Routines: Call Me Irresponsible / Holding Out For A Hero / Cheerleader • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch (Ryan Heffington, Choreographer)

Goliath • Routine: The Pain Killer • Prime Video • Amazon Studios Fred Tallaksen, Choreographer

The Porter • Routines: Opening Stardust Dance Number / Willie Johnson Dance Number / Lucy’s Featured Performance/Songbird • BET+ • Inferno Pictures / Sphere Media Christian Vincent, Choreographer

Schmigadoon! • Routines: Corn Puddin’ / Tribulation / With All Of Your Heart • Apple TV+ • Broadway Video / Universal Television in association with Apple Christopher Gattelli, Choreographer

Zoey’s Extraordinary Christmas • Routines: It’s The Most Wonderful Time Of The Year / We Need A Little Christmas / Just The Two Of Us • The Roku Channel • Lionsgate, Universal Music Group, FeigCo, The Tannenbaum Company Mandy Moore, Choreographer Jillian Meyers, Choreographer

Outstanding Cinematography for a Multi-Camera Series

WINNER: “How I Met Your Father” • Pilot • Hulu • 20th Television (Gary Baum, ASC, Director of Photography)

B Positive • Dagobah, A Room, And A Chimney Sweep • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television Steven V. Silver, ASC, Director of Photography

The Conners • The Wedding Of Dan And Louise • ABC • Werner Entertainment Donald A. Morgan, ASC, Director of Photography

Outstanding Cinematography for a Single-Camera Series (Half-Hour)

WINNER: “Atlanta” • Three Slaps • FX • FX Productions (Christian Sprenger, Director of Photography)

Barry • starting now • HBO/HBO Max • HBO in association with Alec Berg and Hanarply Carl Herse, Director of Photography

grown-ish • Put Your Hands Where My Eyes Could See • Freeform • ABC Signature Mark Doering-Powell, ASC, Director of Photography

Hacks • The Click • HBO/HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Adam Bricker, Director of Photography

Insecure • Reunited, Okay?! • HBO/HBO Max • HBO in association with Hoorae, A Penny For Your Thoughts Entertainment and 3 Arts Entertainment Ava Berkofsky, Director of Photography

Russian Doll • Nowhen • Netflix • Universal Television Paper Kite Productions, Jax Media and 3 Arts Entertainment for Netflix Ula Pontikos, BSC, Director of Photography

Outstanding Cinematography for a Single-Camera Series (One Hour)

WINNER: “Euphoria” • The Theater And Its Double • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch (Marcell Rév, HCA, Director of Photography)

Loki • Lamentis • Disney+ • Marvel Studios Autumn Durald Arkapaw, Director of Photography

The Marvelous Mrs. Maisel • How Do You Get To Carnegie Hall? • Prime Video • Amazon Studios M. David Mullen, ASC, Director of Photography

Ozark • A Hard Way To Go • Netflix • MRC for Netflix Eric Koretz, Director of Photography

Squid Game • Stick To The Team • Netflix • Siren Pictures for Netflix Lee Hyung-deok, Director of Photography

Winning Time: The Rise Of The Lakers Dynasty • Pieces Of A Man • HBO/HBO Max • HBO in association with HyperObject Industries, Steeplechase Amusements, Jim Hecht Productions and Jason Shuman Productions Todd Banhazl, Director of Photography

Outstanding Contemporary Costumes

WINNER: “Hacks” • The Captain’s Wife • HBO/HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment (Kathleen Felix-Hager, Costume Designer; Karen Bellamy, Costume Supervisor)

black-ish • That’s What Friends Are For • ABC • ABC Signature Michelle R. Cole, Costume Designer Stanley Vance Hudson, Assistant Costume Designer Suzanne M. Bantit, Costume Supervisor

Euphoria • Trying To Get To Heaven Before They Close The Door • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch Heidi Bivens, Costume Designer Devon Patterson, Costume Supervisor Angelina Vito, Assistant Costume Designer

Only Murders In The Building • Who Is Tim Kono? • Hulu • 20th Television Dana Covarrubias, Costume Designer Amanda Bujak, Assistant Costume Designer Amy Burt, Costume Supervisor

Pam & Tommy • Destroyer Of Worlds • Hulu • Hulu, Annapurna Television, Point Grey Pictures Kameron Lennox, Costume Designer Danielle Baker, Costume Supervisor Petra Larsen, Assistant Costume Designer

The White Lotus • Arrivals • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. Alex Bovaird, Costume Designer Brian Sprouse, Assistant Costume Designer Eileen Stroup, Costume Supervisor

Outstanding Contemporary Hairstyling

WINNER: “Impeachment: American Crime Story” • The Assassination Of Monica Lewinsky • FX • 20th Television and FX Productions (Natalie Driscoll, Department Head Hairstylist; Nanxy Tong-Heater, Assistant Department Head Hairstylist; Michelle Ceglia, Personal Hairstylist; Suzy Mazzarese, Personal Hairstylist; Lauren Kress, Hairstylist; Leighann Pitchon, Hairstylist)

American Horror Stories • Game Over • FX • 20th Television Valerie Jackson, Department Head Hairstylist Lauren Poole, Key Hairstylist

black-ish • That’s What Friends Are For • ABC • ABC Signature Nena Ross Davis, Department Head Hairstylist Debra Brown, Key Hairstylist Stacey Morris, Hairstylist Shirlena Allen, Hairstylist Dominique Evans, Barber Lionel Brown, Hairstylist

Euphoria • The Theater And Its Double • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch Kim Kimble, Department Head Hairstylist Kendra Garvey, Assistant Department Head Hairstylist Patricia Vecchio, Key Hairstylist Teresita Mariscal, Hairstylist

Hacks • The Captain’s Wife • HBO/HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Jennifer Bell, Personal Hairstylist

Ted Lasso • No Weddings And A Funeral • Apple TV+ • Apple presents a Doozer Production in association with Warner Bros. Television and Universal Television Nicky Austin, Hair Designer Nicola Springall, Key Hairstylist

Outstanding Contemporary Makeup (Non-Prosthetic)

WINNER: “Euphoria” • The Theater And Its Double • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch (Doniella Davy, Department Head Makeup Artist; Tara Lang Shah, Assistant Department Head Makeup Artist; Alex French, Makeup Artist)

American Horror Stories • Rubber(wo)man Part One And Rubber(wo)man Part Two • FX • 20th Television Tyson Fountaine, Department Head Makeup Artist Elizabeth Kellog, Key Makeup Artist Elizabeth Briseno, Key Makeup Artist Ron Pipes, Makeup Artist Gage Munster, Makeup Artist Heather Cummings, Makeup Artist Michael Johnston, Additional Makeup Artist Lufeng Qu, Additional Makeup Artist

American Horror Story: Double Feature • Gaslight • FX • 20th Television Eryn Krueger Mekash, Department Head Makeup Artist Kim Ayers, Assistant Department Head Makeup Artist Mike Mekash, Assistant Department Head Makeup Artist Ana Gabriela Quinonez, Makeup Artist

Angelyne • The Tease • Peacock • UCP in association with Esmail Corp, Anonymous Content, Composition 8 and The Hollywood Reporter David Williams, Department Head Makeup Artist Ron Pipes, Makeup Artist Erin LeBre, Makeup Artist Anne Pala Williams, Makeup Artist Mara Rouse, Makeup Artist

Impeachment: American Crime Story • The Assassination Of Monica Lewinsky • FX • 20th Television and FX Productions Robin Beauchesne, Department Head Makeup Artist KarriAnn Sillay, Assistant Department Head Makeup Artist Angela Moos, Makeup Artist Erin LeBre, Makeup Artist Kerrin Jackson, Makeup Artist

Ozark • A Hard Way To Go • Netflix • MRC for Netflix Tracy Ewell, Department Head Makeup Artist Kimberly Amacker, Key Makeup Artist Susan Reilly Lehane, Personal Makeup Artist

Outstanding Fantasy/ Sci-Fi Costumes

WINNER: “What We Do In The Shadows” • The Wellness Center • FX • FX Productions (Laura Montgomery, Costume Designer; Judy Laukkanen, Costume Supervisor; Barbara Cardoso, Assistant Costume Designer)

The Book Of Boba Fett • Chapter 1: Stranger In A Strange Land • Disney+ • Lucasfilm Ltd. Shawna Trpcic, Costume Designer Julie Robar, Costume Supervisor Areayl Cooper, Assistant Costume Designer

Loki • Glorious Purpose • Disney+ • Marvel Studios Christine Wada, Costume Designer Nora Pederson, Costume Supervisor Tamsin Costello, Assistant Costume Designer Carol Beadle, Assistant Costume Designer

Moon Knight • Gods And Monsters • Disney+ • Marvel Studios Meghan Kasperlik, Costume Designer Martin Mandeville, Costume Supervisor Richard Davies, Assistant Costume Designer Wilberth Gonzalez, Assistant Costume Designer

Star Trek: Picard • Penance • Paramount+ • CBS Studios in association with Secret Hideout and Roddenberry Entertainment Christine Bieselin Clark, Costume Designer Michell Ray Kenney, Costume Supervisor Allison Agler, Assistant Costume Designer

The Witcher • Family • Netflix • A Netflix Original Series Lucinda Wright, Costume Designer Rebecca Jempson, Assistant Costume Designer

Guest Actor in a Comedy Series

WINNER: Nathan Lane (“Only Murders in the Building”)

Jerrod Carmichael (“Saturday Night Live”)

Bill Hader (“Curb Your Enthusiasm”)

James Lance (“Ted Lasso”)

Christopher McDonald (“Hacks”)

Sam Richardson (“Ted Lasso”)

Guest Actor in a Drama Series

WINNER: Colman Domingo (“Euphoria”)

Adrien Brody (“Succession”)

James Cromwell (“Succession”)

Arian Moayed (“Succession”)

Tom Pelphrey (“Ozark”)

Alexander Skarsgård (“Succession”)

Guest Actress in a Comedy Series

WINNER: Laurie Metcalf (“Hacks”)

Jane Adams (“Hacks”)

Harriet Sansom Harris (“Hacks”)

Jane Lynch (“Only Murders in the Building”)

Kaitlin Olson (“Hacks”)

Harriet Walter (“Ted Lasso”)

Guest Actress in a Drama Series

WINNER: Lee You-mi (“Squid Game”)

Hope Davis (“Succession”)

Marcia Gay Harden (“The Morning Show”)

Martha Kelly (“Euphoria”)

Sanaa Lathan (“Succession”)

Harriet Walter (“Succession”)

Outstanding Main Title Design

WINNER: “Severance” • Apple TV+ • Endeavor Content / Red Hour Productions in association with Apple (Oliver Latta, Director/Creative Director/Art Director/Editor/Animator/3D Artist; Teddy Blanks, Typographer/Typography Animation)

Candy • Hulu • UCP and 20th Television Ronnie Koff, Creative Director Peter Frankfurt, Creative Director Lexi Gunvaldson, Editor Rob Slychuk, Animator Nader Husseini, Animator Elizabeth Steinberg, Designer

Cowboy Bebop • Netflix • A Netflix Series in association with Tomorrow Studios Karin Fong, Creative Director Kiyoon Nam, Designer/Animator James Gardner, Designer/Animator Merrill Hall, Designer/Animator Kathy Liang, Designer Lexi Gunvaldson, Editor

Foundation • Apple TV+ • Skydance Television for Apple Ronnie Koff, Creative Director Zach Kilroy, Editor Danil Krivoruchko, Animator/3D Artist James Gardner, Designer Brandon Savoy, Designer

Lisey’s Story • Apple TV+ • Bad Robot / Warner Bros. Television in association with Apple Karin Fong, Director Osbert Parker, Director Henry Chang, Lead Designer/Animator Merrill Hall, Animator Russ Gautier, Animator Lexi Gunvaldson, Editor

Only Murders In The Building • Hulu • 20th Television Lisa Bolan, Creative Director Tnaya Witmer, Designer Laura Perez, Designer James Hurlburt, Animator Evan Larimore, Animator Jahmad Rollins Rollins, Animator

Pachinko • Apple TV+ • Media Res / Blue Marble Pictures in association with Apple Angus Wall, Creative Director Nadia Tzuo, Creative Director Florian Hoffmeister, Cinematographer Ante Cheng, Cinematographer Nathaniel Park, Lead Editor Lucy Kim, Lead Animator

Outstanding Motion Design

WINNER: “Home Before Dark” – Jon Berkowitz, Brad Colwell, Kimberly Tang, and Nolan Borkenhagen (Apple TV+)

Outstanding Multi-Camera Picture Editing for a Comedy Series

WINNER: “How I Met Your Father” • Timing Is Everything • Hulu • 20th Television (Sue Federman, ACE, Editor)

Call Me Kat • Call Me By My Middle Name • FOX • That’s Wonderful Productions, Sad Clown Productions and BBC Studios in association with Warner Bros. Television and FOX Entertainment Pam Marshall, Editor

Outstanding Music Composition for a Series (Original Dramatic Score)

WINNER: “Severance” • The We We Are • Apple TV+ • Endeavor Content / Red Hour Productions in association with Apple (Theodore Shapiro, Composer)

The Flight Attendant • The Reykjavík Ice Sculpture Festival Is Lovely This Time Of Year • HBO/HBO Max • HBO Max in association with Berlanti Productions, Yes, Norman Productions, and Warner Bros. Television Blake Neely, Composer

Loki • Glorious Purpose • Disney+ • Marvel Studios Natalie Holt, Composer

Only Murders In The Building • The Boy From 6B • Hulu • 20th Television Siddhartha Khosla, Composer

Schmigadoon! • Schmigadoon! • Apple TV+ • Broadway Video / Universal Television in association with Apple Christopher Willis, Composer

Succession • Chiantishire • HBO/HBO Max • HBO in association with Project Zeus, HyperObject Industries, Gary Sanchez Productions Nicholas Britell, Composer

Outstanding Music Supervision

WINNER: “Stranger Things” • Chapter Four: Dear Billy • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix (Nora Felder, Music Supervisor)

Better Call Saul • Black And Blue • AMC • High Bridge, Crystal Diner, Gran Via Productions and Sony Pictures Television Thomas Golubić, Music Supervisor

Euphoria • Trying To Get To Heaven Before They Close The Door • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch Jen Malone, Music Supervisor Adam Leber, Music Supervisor

The Marvelous Mrs. Maisel • How Do You Get To Carnegie Hall? • Prime Video • Amazon Studios Robin Urdang, Music Supervisor

Ozark • The Cousin Of Death • Netflix • MRC for Netflix Gabe Hilfer, Music Supervisor

The White Lotus • Departures • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. Janet Lopez, Music Supervisor

Outstanding Original Main Title Theme Music

WINNER: “The White Lotus” • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. (Cristobal Tapia de Veer, Composer)

Loki • Disney+ • Marvel Studios Natalie Holt, Composer

Only Murders In The Building • Hulu • 20th Television Siddhartha Khosla, Composer

Severance • Apple TV+ • Endeavor Content / Red Hour Productions in association with Apple Theodore Shapiro, Composer

Squid Game • Netflix • Siren Pictures for Netflix Jung Jae-il, Composer

Outstanding Original Music and Lyrics

WINNER: “Schmigadoon!” • Schmigadoon! / Song Title: Corn Puddin’ • Apple TV+ • Broadway Video / Universal Television in association with Apple (Cinco Paul, Music & Lyrics)

Euphoria • All My Life, My Heart Has Yearned For A Thing I Cannot Name / Song Title: Elliot’s Song • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch Labrinth, Music & Lyrics Muzhda Zemar-McKenzie, Lyrics Zendaya, Lyrics

Euphoria • You Who Cannot See, Think Of Those Who Can / Song Title: I’m Tired • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch Labrinth, Music & Lyrics Zendaya, Lyrics Sam Levinson, Lyrics

The Marvelous Mrs. Maisel • How To Chew Quietly And Influence People / Song Title: Maybe Monica • Prime Video • Amazon Studios Thomas Mizer, Music & Lyrics Curtis Moore, Music & Lyrics

This Is Us • Day Of The Wedding / Song Title: The Forever Now • NBC • 20th Television Siddhartha Khosla, Music Taylor Goldsmith, Lyrics

Outstanding Period and/or Character Hairstyling

WINNER: “Bridgerton” • The Viscount Who Loved Me • Netflix • A Netflix Original Series in association with shondalandmedia (Erika Okvist, Hair Designer; Jenny Rhodes-McLean, Key Hairstylist; Sim Camps, Additional Hairstylist)

The First Lady • See Saw • Showtime • SHOWTIME Presents, Lionsgate Pictures, Welle Entertainment, Pathless Woods Productions Inc. Colleen LaBaff, Department Head Hairstylist Louisa Anthony, Department Head Hairstylist Lawrence Davis, Department Head Hairstylist Julie Kendrick, Personal Hairstylist Robert Wilson, Key Hairstylist Jamika Wilson, Personal Hairstylist Evelyn Roach, Additional Hairstylist Jaime Leigh McIntosh, Personal Hairstylist

The Marvelous Mrs. Maisel • How Do You Get To Carnegie Hall? • Prime Video • Amazon Studios Kimberley Spiteri, Department Head Hairstylist Barbara Dally, Key Hairstylist Daniel Koye, Hairstylist

Pam & Tommy • Jane Fonda • Hulu • Hulu, Annapurna Television, Point Grey Pictures Barry Lee Moe, Department Head Hairstylist Erica Adams, Assistant Department Head Hairstylist George Guzman, Hairstylist Helena Cepeda, Additional Hairstylist

Stranger Things • Chapter Seven: The Massacre At Hawkins Lab • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix Sarah Hindsgaul, Department Head Hairstylist Katrina Suhre, Co-Department Head Hairstylist Brynn Berg, Co-Department Head Hairstylist Dena Gibson, Key Hairstylist Jamie Freeman, Barber Tariq Furgerson, Personal Hairstylist Chase Heard, Key Hairstylist Charles Grico, Hairstylist

Outstanding Period and/or Character Makeup (Non-Prosthetic)

WINNER: “Pam & Tommy” • Jane Fonda • Hulu • Hulu, Annapurna Television, Point Grey Pictures (David Williams, Department Head Makeup Artist; Jennifer Aspinall, Key Makeup Artist; Jason Collins, Special Makeup Effects Artist; Abby Lyle Clawson, Makeup Artist; Mo Meinhart, Makeup Artist; Dave Snyder, Makeup Artist; Bill Myer, Makeup Artist; Victor Del Castillo, Makeup Artist)

The First Lady • Cracked Pot • Showtime • SHOWTIME Presents, Lionsgate Pictures, Welle Entertainment, Pathless Woods Productions Inc. Carol Rasheed, Department Head Makeup Artist Sergio Lopez-Rivera, Personal Makeup Artist Valli O’Reilly, Personal Makeup Artist Chauntelle Langston, Key Makeup Artist Milene Melendez, Key Makeup Artist

The Marvelous Mrs. Maisel • How Do You Get To Carnegie Hall? • Prime Video • Amazon Studios Patricia Regan, Department Head Makeup Artist Claus Lulla, Key Makeup Artist Margot Boccia, Makeup Artist Tomasina Smith, Makeup Artist Michael Laudati, Makeup Artist Roberto Baez, Makeup Artist Alberto Machuca, Makeup Artist

Star Trek: Picard • Hide And Seek • Paramount+ • CBS Studios in association with Secret Hideout and Roddenberry Entertainment Silvina Knight, Assistant Department Head Makeup Artist Tanya Cookingham, Key Makeup Artist Peter De Oliveira, Makeup Artist Allyson Carey, Makeup Artist Hanny Eisen, Makeup Artist

Stranger Things • Chapter Two: Vecna’s Curse • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix Amy L. Forsythe, Department Head Makeup Artist Devin Morales, Co-Department Head Makeup Artist Leo Satkovitch, Key Makeup Artist Nataleigh Verrengia, Key Makeup Artist Rocco Gaglioti, Makeup Artist Lisa Poe, Makeup Artist Benji Dove, Makeup Artist Jan Rooney, Makeup Artist

Outstanding Period Costumes

WINNER: “The Great” • Seven Days • Hulu • Hulu, Civic Center Media, MRC (Sharon Long, Costume Designer; Viveene Campbell, Costume Supervisor; Anna Cavalerie, Assistant Costume Designer; Bobbie Edwards, Assistant Costume Designer)

Angelyne • Glow In The Dark Queen Of The Universe • Peacock • UCP in association with Esmail Corp, Anonymous Content, Composition 8 and The Hollywood Reporter Danny Glicker, Costume Designer Jessica Fasman, Costume Supervisor Adam Giradet, Assistant Costume Designer

Bridgerton • Harmony • Netflix • A Netflix Original Series in association with shondalandmedia Sophie Canale, Costume Designer Dougie Hawkes, Assistant Costume Designer Sarah June Mills, Assistant Costume Designer Charlotte Armstrong, Assistant Costume Designer Sanaz Missaghian, Costume Supervisor Kevin Pratten-Stone, Costume Supervisor

The First Lady • Cracked Pot • Showtime • SHOWTIME Presents, Lionsgate Pictures, Welle Entertainment, Pathless Woods Productions Inc. Signe Sejlund, Costume Designer Felicia Jarvis, Costume Designer Matthew Hemesath, Costume Designer Paula Truman, Costume Supervisor Stephen Oh, Costume Supervisor Jessica Trejos, Assistant Costume Designer

The Marvelous Mrs. Maisel • Maisel vs. Lennon: The Cut Contest • Prime Video • Amazon Studios Donna Zakowska, Costume Designer Moria Sine Clinton, Assistant Costume Designer Ben Philipp, Assistant Costume Designer Ginnie Patton, Costume Supervisor Dan Hicks, Costume Supervisor Mikita Thompson, Costume Supervisor

Outstanding Production Design for a Narrative Contemporary Program (One Hour or More)

WINNER: “Squid Game” • Gganbu • Netflix • Siren Pictures for Netflix (Chae Kyoung-sun, Production Designer; Gim En-jee, Art Director; Kim Jeong-gon, Set Decorator)

The Flight Attendant • Seeing Double • HBO/HBO Max • HBO Max in association with Berlanti Productions, Yes, Norman Productions, and Warner Bros. Television Nina Ruscio, Production Designer Josh Lusby, Art Director Mari Lappalainen, Art Director Matt Callahan, Set Decorator

Ozark • The Beginning Of The End • Let The Great World Spin • Sanctified • Netflix • MRC for Netflix David Bomba, Production Designer Sean Ryan Jennings, Art Director Kim Leoleis, Set Decorator

Severance • Good News About Hell • Apple TV+ • Endeavor ContePnatg/e 1Red Hour Productions in association with Apple Severance • Good News About Hell • Apple TV+ • Endeavor Content / Red Hour Productions in association with Apple Jeremy Hindle, Production Designer Nick Francone, Production Designer Angelica Borrero-Fortier, Art Director Andrew Baseman, Set Decorator

Succession • Too Much Birthday • HBO/HBO Max • HBO in association with Project Zeus, HyperObject Industries, Gary Sanchez Productions Stephen H. Carter, Production Designer Marci Mudd, Art Director George DeTitta, Jr., Set Decorator

The White Lotus • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. Laura Fox, Production Designer Charles Varga, Art Director Jennifer Lukehart, Set Decorator

Outstanding Production Design for a Narrative Period or Fantasy Program (One Hour or More)

WINNER: “The Gilded Age” • Never The New • HBO/HBO Max • HBO in association with Universal Television and Neamo Film and Television (Bob Shaw, Production Designer; Larry Brown, Art Director; Laura Ballinger Gardner, Art Director; Regina Graves, Set Decorator)

The Great • Wedding • Hulu • Hulu, Civic Center Media, MRC Francesca di Mottola, Production Designer Emma Painter, Art Director Monica Alberte, Set Decorator

Loki • Glorious Purpose • Disney+ • Marvel Studios Kasra Farahani, Production Designer Natasha Gerasimova, Art Director Claudia Bonfe, Set Decorator

The Marvelous Mrs. Maisel • Maisel vs. Lennon: The Cut Contest • How Do You Get To Carnegie Hall? • Prime Video • Amazon Studios Bill Groom, Production Designer Neil Prince, Art Director Ellen Christiansen, Set Decorator

Stranger Things • Chapter Seven: The Massacre At Hawkins Lab • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix Chris Trujillo, Production Designer Sean Brennan, Art Director Jess Royal, Set Decorator

Outstanding Production Design for a Narrative Program (Half-Hour)

WINNER: “Only Murders In The Building” • True Crime • Hulu • 20th Television (Curt Beech, Production Designer; Jordan Jacobs, Art Director; Rich Murray, Set Decorator)

Bob Hearts Abishola • Bowango • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television Francoise Cherry-Cohen, Production Designer Gail L. Russell, Art Director Ann Shea, Set Decorator

Emily In Paris • The Cook, The Thief, Her Ghost And His Lover • SPceangets2& Sensibility • French Revolution • Netflix • MTV Emily In Paris • The Cook, The Thief, Her Ghost And His Lover • Scents & Sensibility • French Revolution • Netflix • MTV Entertainment Studios, Darren Star Productions, and Jax Media for Netflix Anne Seibel, Production Designer Beniôt Tételin, Art Director Christelle Maisonneuve, Set Decorator

Hacks • Trust The Process • HBO/HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Alec Contestabile, Production Designer Rob Tokarz, Art Director Jennifer Lukehart, Set Decorator

Schmigadoon! • Schmigadoon! • Apple TV+ • Broadway Video / Universal Television in association with Apple Bo Welch, Production Designer Don Macaulay, Art Director Carol Lavallee, Set Decorator

Ted Lasso • Beard After Hours • Apple TV+ • Apple presents a Doozer Production in association with Warner Bros. Television and Universal Television Paul Cripps, Production Designer Stacey Dickinson, Art Director

United States Of Al • Kiss/Maach • Divorce/Talaq • Sock/Jeraab • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television Daren Janes, Production Designer Susan Mina Eschelbach, Set Decorator

Outstanding Prosthetic Makeup

WINNER: “Stranger Things” • Chapter Four: Dear Billy • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix (Barrie Gower, Special Makeup Effects Department Head; Duncan Jarman, Special Makeup Effects Department Head; Mike Mekash, Special Makeup Effects Artist; Eric Garcia, Special Makeup Effects Artist; Nix Herrera, Special Makeup Effects Artist)

Angelyne • Glow In The Dark Queen Of The Universe • Peacock • UCP in association with Esmail Corp, Anonymous Content, Composition 8 and The Hollywood Reporter Vincent Van Dyke, Prosthetic Designer Kate Biscoe, Special Makeup Effects Department Head Mike Mekash, Special Makeup Effects Artist Abby Lyle Clawson, Key Makeup Artist Chris Burgoyne, Key Makeup Artist

Gaslit • Final Days • STARZ • UCP in association with Esmail Corp, Anonymous Content, Red Om Films, The Slate Group Kazu Hiro, Prosthetic Designer Vincent Van Dyke, Prosthetic Designer Richard Redrefsen, Special Makeup Effects Artist Christopher Nelson, Special Makeup Effects Artist Michael Ornelaz, Special Makeup Effects Artist Kelly Golden, Special Makeup Effects Artist

Impeachment: American Crime Story • The Wilderness • FX • 20th Television and FX Productions Justin Raleigh, Prosthetic Designer Greg Cannom, Prosthetic Designer Thom Floutz, Special Makeup Effects Artist Chris Hampton, Special Makeup Effects Artist Kelly Golden, Special Makeup Effects Artist

Star Trek: Picard • Hide And Seek • Paramount+ • CBS Studios in association with Secret Hideout and Roddenberry Entertainment James Mackinnon, Special Makeup Effects Department Head Vincent Van Dyke, Prosthetic Designer Kevin Kirkpatrick, Special Makeup Effects Assistant Department Head Hugo Villasenor, Special Makeup Effects Artist Bianca Appice, Special Makeup Effects Artist Neville Page, Prosthetic Designer Toryn Reed, Special Makeup Effects Artist Ralis Kahn, Special Makeup Effects Artist

Outstanding Single-Camera Picture Editing for a Comedy Series

WINNER: “Barry” • starting now • HBO/HBO Max • HBO in association with Alec Berg and Hanarply (Ali Greer, Editor)

Hacks • There Will Be Blood • HBO/HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Jessica Brunetto, Editor

Insecure • Choices, Okay?! • HBO/HBO Max • HBO in association with Hoorae, A Penny For Your Thoughts Entertainment and 3 Arts Entertainment Nena Erb, ACE, Editor

Only Murders In The Building • Fan Fiction • Hulu • 20th Television JoAnne Marie Yarrow, ACE, Editor

Only Murders In The Building • Open And Shut • Hulu • 20th Television Julie Monroe, Editor

Ted Lasso • No Weddings And A Funeral • Apple TV+ • Apple presents a Doozer Production in association with Warner Bros. Television and Universal Television A.J. Catoline, ACE, Editor

Ted Lasso • Rainbow • Apple TV+ • Apple presents a Doozer Production in association with Warner Bros. Television and Universal Television Melissa McCoy, ACE, Editor

Outstanding Single-Camera Picture Editing for a Drama Series

WINNER: “Euphoria” • The Theater And Its Double • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch (Laura Zempel, Editor; Julio C. Perez IV, ACE, Editor; Nikola Boyanov, Editor; Aaron I. Butler, ACE, Additional Editor)

Severance • In Perpetuity • Apple TV+ • Endeavor Content / Red Hour Productions in association with Apple Erica Freed Marker, ACE, Editor Geoffrey Richman, ACE, Editor

Severance • The We We Are • Apple TV+ • Endeavor Content / Red Hour Productions in association with Apple Geoffrey Richman, ACE, Editor

Squid Game • Gganbu • Netflix • Siren Pictures for Netflix Nam Na-young, Editor

Stranger Things • Chapter Four: Dear Billy • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix Dean Zimmerman, ACE, Editor Casey Cichocki, Additional Editor

Succession • All The Bells Say • HBO/HBO Max • HBO in association with Project Zeus, HyperObject Industries, Gary Sanchez Productions Ken Eluto, ACE, Editor Ellen Tam, Additional Editor

Succession • Chiantishire • HBO/HBO Max • HBO in association with Project Zeus, HyperObject Industries, Gary Sanchez Productions Jane Rizzo, Editor

Outstanding Single-Camera Picture Editing for a Limited or Anthology Series or Movie

WINNER: “The White Lotus” • Departures • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. (John M. Valerio, ACE, Editor)

Dopesick • Black Box Warning • Hulu • 20th Television, Danny Strong Productions, John Goldwyn Productions, The Littlefield Company C. Chi-yoon Chung, Editor

Dopesick • First Bottle • Hulu • 20th Television, Danny Strong Productions, John Goldwyn Productions, The Littlefield Company Douglas Crise, ACE, Editor

Pam & Tommy • I Love You, Tommy • Hulu • Hulu, Annapurna Television, Point Grey Pictures Tatiana S. Riegel, ACE, Editor

Station Eleven • Unbroken Circle • HBO/HBO Max • HBO Max presents a Paramount Television Studios production in association with Tractor Beam Productions, Shadowfox Productions, Stone Village Television, Inc., Pacesetter Productions, and Super Frog David Eisenberg, Editor Anna Hauger, ACE, Editor Anthony McAfee, Editor Yoni Reiss, Editor

The White Lotus • Mysterious Monkeys • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. Heather Persons, Editor

Outstanding Sound Editing for a Comedy or Drama Series (Half-Hour) and Animation

WINNER: “Barry” • starting now • HBO/HBO Max • HBO in association with Alec Berg and Hanarply (Sean Heissinger, Co-Supervising Sound Editor; Matthew E. Taylor, Co-Supervising Sound Editor; John Creed, Dialogue Editor; Rickley W. Dumm, MPSE, Sound Editor; Clay Weber, Sound Editor; Darrin Mann, Sound Editor; Michael Brake, MPSE, Music Editor; Alyson Dee Moore, Foley Artist; Chris Moriana, Foley Artist)

Arcane • When These Walls Come Tumbling Down • Netflix • A Riot Games and Fortiche Production for Netflix Brad Beaumont, MPSE, Co-Supervising Sound Editor / Sound Designer Eliot Connors, MPSE, Co-Supervising Sound Editor / Sound Designer Shannon Beaumont, ADR / Dialogue Editor Alex Ephraim, MPSE, Foley Editor Alexander Temple, Music Editor Alex Seaver, Music Editor Dan O’Connell, Foley Artist John Cucci, Foley Artist

Cobra Kai • The Rise • Netflix • Sony Pictures Television for Netflix Patrick Hogan, Sound Supervisor Daniel Salas, Sound Editor Jesse Pomeroy, Sound Editor Gary DeLeone, Sound Editor Nick Papalia, Sound Editor Andres Locsey, Music Editor Mitchell Cohen, Foley Artist

Love, Death + Robots • In Vaulted Halls Entombed • Netflix • Blur Studio for Netflix Brad North, MPSE, Co-Supervising Sound Editor Craig Henighan, MPSE, Co-Supervising Sound Editor Anthony Zeller, Foley Editor Jeff Charbonneau, Music Editor Zane Bruce, Foley Artist Lindsay Pepper, Foley Artist

Ted Lasso • Beard After Hours • Apple TV+ • Apple presents a Doozer Production in association with Warner Bros. Television and Universal Television Brent Findley, MPSE, Co-Supervising Sound Editor Bernard Weiser, MPSE, Co-Supervising Sound Editor Ashley Harvey, Dialogue Editor Kip Smedley, Sound Effects Editor Mark Cleary, Sound Effects Editor Jordan McClain, Foley Editor Sharyn Gersh, MPSE, Music Editor Richard David Brown, Music Editor Sanaa Kelley, Foley Artist Matt Salib, Foley Artist

What We Do In The Shadows • The Escape • FX • FX Productions Steffan Falesitch, Sound Supervisor Chris Kahwaty, MPSE, Dialogue Editor David Barbee, MPSE, Sound Editor John Guentner, Foley Editor Sam Lewis, Foley Editor Steve Griffen, Music Editor Ellen Heuer, Foley Artist

Outstanding Sound Editing for a Comedy or Drama Series (One Hour)

WINNER: “Stranger Things” • Chapter Seven: The Massacre At Hawkins Lab • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix (Craig Henighan, MPSE, Co-Supervising Sound Editor; Will Files, MPSE, Co-Supervising Sound Editor; Ryan Cole, MPSE, Sound Editor; Korey Pereira, MPSE, Sound Editor; Angelo Palazzo, MPSE, Sound Editor; Katie Halliday, MPSE, Sound Editor; Ken McGill, MPSE, Foley Editor; Steven Baine, Foley Artist; David Klotz, Music Editor; Lena Glikson-Nezhelskaya, Music Editor)

Better Call Saul • Carrot And Stick • AMC • High Bridge, Crystal Diner, Gran Via Productions and Sony Pictures Television Nick Forshager, Co-Supervising Sound Editor Kathryn Madsen, Co-Supervising Sound Editor Jane Boegel, Dialogue Editor Matt Temple, Sound Effects Editor Marc Glassman, Sound Effects Editor Jeff Cranford, Foley Editor Jason Tregoe Newman, Music Editor Gregg Barbanell, Foley Artist Alex Ullrich, Foley Artist

The Book Of Boba Fett • Chapter 6: From The Desert Comes A Stranger • Disney+ • Lucasfilm Ltd. Matthew Wood, Co-Supervising Sound Editor Bonnie Wild, Co-Supervising Sound Editor David Acord, Sound Editor Angela Ang, Sound Editor Ryan Cota, Sound Editor Benjamin A. Burtt, Sound Editor David Collins, Sound Editor Alyssa Nevarez, Sound Editor Stephanie McNally, Music Editor Margie O’Malley, Foley Artist Andrea Gard, Foley Artist Sean England, Foley Artist

Loki • Journey Into Mystery • Disney+ • Marvel Studios Matthew Wood, Co-Supervising Sound Editor David Acord, Co-Supervising Sound Editor Brad Semenoff, Sound Editor Steve Slanec, Sound Editor Kyrsten Mate, Sound Editor Adam Kopald, Sound Editor Joel Raabe, Sound Editor Anele Onyekwere, Music Editor Ed Hamilton, Music Editor Nashia Wachsman, Music Editor Shelley Roden, Foley Artist John Roesch, Foley Artist

Star Trek: Picard • Penance • Paramount+ • CBS Studios in association with Secret Hideout and Roddenberry Entertainment Matthew E. Taylor, Co-Supervising Sound Editor Michael Schapiro, Co-Supervising Sound Editor Sean Hessinger, Dialogue Editor Alex Pugh, Sound Editor Clay Weber, Foley Editor John Sanacore, Foley Editor Ben Schorr, Music Editor Katherine Harper, Foley Artist Ginger Geary, Foley Artist

Star Trek: Strange New Worlds • Memento Mori • Paramount+ • CBS Studios in association with Secret Hideout and Roddenberry Entertainment Matthew E. Taylor, Co-Supervising Sound Editor Michael Schapiro, Co-Supervising Sound Editor Kip Smedley, Sound Designer Clay Weber, Sound Editor John Sanacore, Sound Editor David Barbee, Sound Editor Matt Decker, Music Editor Alyson Dee Moore, Foley Artist Rick Owens, Foley Artist Chris Moriana, Foley Artist

Outstanding Sound Editing for a Limited or Anthology Series, Movie or Special

WINNER: “Moon Knight” • Gods And Monsters • Disney+ • Marvel Studios (Bonnie Wild, Co-Supervising Sound Editor; Mac Smith, Co-Supervising Sound Editor; Kimberly Patrick, Sound Editor; Vanessa Lapato, Sound Editor; Matt Hartman, Sound Editor; Teresa Eckton, Sound Editor; Tim Farrell, Sound Editor; Leo Marcil, Sound Editor; Joel Raabe, Sound Editor; Ian Chase, Sound Editor; Anele Onyekwere, Music Editor; Stephanie Lowry, Music Editor; Carl Sealove, Music Editor; Dan O’Connell, Foley Artist; John Cucci, MPSE, Foley Artist)

American Horror Story: Double Feature • Gaslight • FX • 20th Television Christian Buenaventura, MPSE, Supervising Sound Editor Steve Suhr, Dialogue Editor David Beadle, Dialogue Editor Tim Cleveland, Sound Effects Editor Zheng Jia, Sound Effects Editor Samuel Muñoz, Foley Editor Sean McGuire, Music Editor Noel Vought, Foley Artist

Gaslit • Year Of The Rat • STARZ • UCP in association with Esmail Corp, Anonymous Content, Red Om Films, The Slate Group Kevin Buchholz, Co-Supervising Sound Editor Stefani Feldman, Co-Supervising Sound Editor Sang Kim, Dialogue Editor Dan Kremer, Sound Effects Editor Adam Parrish-King, Sound Effects Editor Sam Munoz, Foley Editor Jordan Aldinger, Foley Editor Ben Zales, Music Editor Chris Rummel, Music Editor Jacob McNaughton, Foley Artist Noel Vought, Foley Artist

Midnight Mass • Book VII: Revelation • Netflix • Intrepid Pictures for Netflix Trevor Gates, Co-Supervising Sound Editor Jonathan Wales, Co-Supervising Sound Editor Kristen Hirlinger, Dialogue Editor Jason Dotts, Dialogue / ADR Editor Michael Baird, Dialogue / ADR Editor Paul Knox, Sound Effects Editor Russell Topal, Sound Effects Editor James Miller, Sound Effects Editor Matthew Thomas Hall, Sound Effects Editor Mark Coffey, Sound Effects Editor Amy Barber, Foley Editor Julia Huberman, Foley Editor Brett “Snacky” Pierce, Music Editor Ben Parker, Foley Artist Jonathan Bruce, Foley Artist

Station Eleven • Wheel Of Fire • HBO/HBO Max • HBO Max presents a Paramount Television Studios production in association with Tractor Beam Productions, Shadowfox Productions, Stone Village Television, Inc., Pacesetter Productions, and Super Frog Bradley North, MPSE, Sound Supervisor Tiffany S. Griffith, Dialogue Editor Chuck Michael, Sound Effects Editor Matt Manselle, Foley Editor Matt Kelsey, Foley Editor Lodge Worster, Music Editor Brian Straub, Foley Artist

Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation

WINNER: “Only Murders In The Building” • The Boy From 6B • Hulu • 20th Television (Lindsey Alvarez, Re-Recording Mixer; Mathew Waters, CAS, Re-Recording Mixer; Joseph White Jr., Production Mixer)

Barry • all the sauces • HBO/HBO Max • HBO in association with Alec Berg and Hanarply Elmo Ponsdomenech, CAS, Re-Recording Mixer Teddy Salas, Re-Recording Mixer Scott Harber, CAS, Production Mixer

Curb Your Enthusiasm • IRASSHAIMASE! • HBO/HBO Max • HBO Earl Martin, Re-Recording Mixer Chuck Buch, CAS, Production Mixer Michael Miller, ADR Mixer

Hacks • The Captain’s Wife • HBO/HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment John W. Cook II, Re-Recording Mixer Ben Wilkins, Re-Recording Mixer Jim Lakin, Production Mixer

Ted Lasso • Rainbow • Apple TV+ • Apple presents a Doozer Production in association with Warner Bros. Television and Universal Television Ryan Kennedy, Re-Recording Mixer Sean Byrne, Re-Recording Mixer David Lascelles, Production Mixer Arno Stephanian, Foley Mixer

What We Do In The Shadows • The Casino • FX • FX Productions Diego Gat, CAS, Re-Recording Mixer Sam Ejnes, Re-Recording Mixer

Outstanding Sound Mixing for a Comedy or Drama Series (One Hour)

WINNER: “Stranger Things” • Chapter Seven: The Massacre At Hawkins Lab • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix (Will Files, CAS, Re-Recording Mixer; Mark Paterson, Re-Recording Mixer; Craig Henighan, CAS, Re-Recording Mixer; Michael P. Clark, CAS, Production Mixer)

Better Call Saul • Carrot And Stick • AMC • High Bridge, Crystal Diner, Gran Via Productions and Sony Pictures Television Larry Benjamin, CAS, Re-Recording Mixer Kevin Valentine, Re-Recording Mixer Philip W. Palmer, CAS, Production Mixer

Euphoria • Stand Still Like The Hummingbird • HBO/HBO Max • HBO in association with ADD Content Agency | HOT | TCDY Productions, Dreamcrew, Tiny Goat, A24 and The Reasonable Bunch Anne Jimkes-Root, Re-Recording Mixer Chris David, Re-Recording Mixer Austin Roth, Re-Recording Mixer Sean O’Malley, Production Mixer

The Marvelous Mrs. Maisel • How Do You Get To Carnegie Hall? • Prime Video • Amazon Studios Ron Bochar, Re-Recording Mixer Mathew Price, CAS, Production Mixer George A. Lara, Foley Mixer Stewart Lerman, Scoring Mixer

Ozark • Sanctified • Netflix • MRC for Netflix Larry Benjamin, CAS, Re-Recording Mixer Kevin Valentine, Re-Recording Mixer Akira Fukasawa, Production Mixer Amy Barber, Foley Mixer

Succession • Too Much Birthday • HBO/HBO Max • HBO in association with Project Zeus, HyperObject Industries, Gary Sanchez Productions Nicholas Renbeck, Re-Recording Mixer Andy Kris, Re-Recording Mixer Ken Ishii, Production Mixer

Outstanding Sound Mixing for a Limited or Anthology Series or Movie

WINNER: “The White Lotus” • Departures • HBO/HBO Max • HBO in association with Rip Cord, The District and Hallogram Inc. (Christian Minkler, Re-Recording Mixer; Ryan Collins, Re-Recording Mixer; Walter Anderson, Production Mixer; Jeffrey Roy, ADR Mixer)

Dopesick • Pseudo-Addiction • Hulu • 20th Television, Danny Strong Productions, John Goldwyn Productions, The Littlefield Company Nick Offord, Re-Recording Mixer Ryan Collins, Re-Recording Mixer Jay Meagher, CAS, Production Mixer

Gaslit • Final Days • STARZ • UCP in association with Esmail Corp, Anonymous Content, Red Om Films, The Slate Group John W. Cook II, Re-Recording Mixer Ben Wilkins, Re-Recording Mixer Devendra Cleary, CAS, Production Mixer

Moon Knight • Gods And Monsters • Disney+ • Marvel Studios Bonnie Wild, Re-Recording Mixer Scott R. Lewis, Re-Recording Mixer Tamás Csaba, Production Mixer Scott Michael Smith, Score Mixer

Pam & Tommy • The Master Beta • Hulu • Hulu, Annapurna Television, Point Grey Pictures Nick Offord, Re-Recording Mixer Ryan Collins, Re-Recording Mixer Juan Cisneros, Production Mixer

Outstanding Special Visual Effects in a Season or a Movie

WINNER: “The Book Of Boba Fett” • Disney+ • Lucasfilm Ltd. (Richard Bluff, Visual Effects Supervisor; Abbigail Keller, Visual Effects Producer; Paul Kavanagh, Animation Supervisor; Cameron Neilson, Assoc. Visual Effects Supervisor; Scott Fisher, Special Effects Supervisor; John Rosengrant, Legacy Effects Supervisor; Enrico Damm, ILM Visual Effects Supervisor; Robin Hackl, Image Engine Visual Effects Supervisor; Landis Fields, Virtual Production Visualization Supervisor)

Foundation • Apple TV+ • Skydance Television for Apple Chris MacLean, Overall VFX Supervisor Addie Manis, Overall VFX Supervisor Mike Enriquez, VFX Supervisor Victoria Keeling, On-Set VFX Producer Chris Keller, VFX Supervisor, DNEG Jess Brown, VFX Producer, DNEG Nicholas Hernandez, VFX Supervisor, Rodeo Richard Clegg, VFX Supervisor, Outpost

Lost In Space • Netflix • Legendary for Netflix Jabbar Raisani, Senior Visual Effects Supervisor Terron Pratt, Visual Effects Producer Troy Davis, Visual Effects Supervisor Dirk Valk, Previs Supervisor Jed Glassford, On-Set Visual Effects Supervisor Niklas Jacobson, Visual Effects Supervisor Juri Stanossek, Visual Effects Supervisor Jared Higgins, Visual Effects Production Manager Paul Benjamin, Special Effects Coordinator

Stranger Things • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix Michael Maher Jr., VFX Supervisor Marion Spates, VFX Supervisor Jabbar Raisani, VFX Supervisor Terron Pratt, VFX Producer Ashley J. Ward, Associate VFX Producer Julien Hery, VFX Supervisor Niklas Jacobson, VFX Supervisor Manolo Mantero, VFX Supervisor Neil Eskuri, VFX Supervisor

The Witcher • Netflix • A Netflix Original Series Dadi Einarsson, Overall VFX Supervisor Gavin Round, Overall VFX Producer Bruno Baron, VFX Supervisor Matthias Bjarnason, VFX Supervisor Sebastien Francoeur, VFX Supervisor Aleksandar Pejic, VFX Supervisor Oliver Cubbage, VFX Supervisor Mateusz Tokarz, VFX Supervisor Stefano Pepin, Production SFX Supervisor

Outstanding Special Visual Effects in a Single Episode

WINNER: “Squid Game” • VIPS • Netflix • Siren Pictures for Netflix (Cheong Jai-hoon, VFX Supervisor; Kang Moon-jung, CG Supervisor (3D); Kim Hye-jin, VFX Producer; Jo Hyun-jin, Layout Lead; Kim Seong-cheol, Matte Painting Supervisor; Lee Jae-bum, Animation Supervisor; Shin Min-soo, CG Supervisor (2D); Seok Jong-yeon, Compositing Supervisor; Jun Sung-man, Compositing Supervisor)

The Man Who Fell To Earth • Hallo, Spaceboy • Showtime • SHOWTIME Presents, CBS Studios Inc., Secret Hideout, Timberman & Beverly, StudioCanal Jason Michael Zimmerman, Lead VFX Supervisor/ Supervising Producer Aleksandra Kochoska, Senior VFX Producer Shawn Ewashko, Senior VFX Coordinator Simon Carr, VFX Supervisor Elizabeth Alvarez, Senior VFX Coordinator Richard R Reed, VFX Supervisor (Cinesite) Jesper Kjolsrud, VFX Supervisor (Outpost VFX) Anna James, VFX Producer Neal Champion, SFX Supervisor

SEE • Rock-a-Bye • Apple TV+ • Chernin Entertainment / Endeavor Content in association with Apple Chris Wright, Overall VFX Supervisor Parker Chehak, Overall VFX Producer Scott Riopelle, On-Set VFX Supervisor Javier Roca, VFX Supervisor (El Ranchito) Tristan Zerafa, VFX Supervisor (Pixomondo) Nathan Overstrom, VFX Supervisor (Zoic Studios) Sam O’Hare, VFX Supervisor (Chickenbone FX) Tony Kenny, SPFX Coordinator Tamriko Barda, Senior VFX Coordinator

Snowpiercer • A Beacon For Us All • TNT • TNT in association with Tomorrow Studios and CJ Entertainment Geoff Scott, Series Visual Effects Supervisor Darren Bell, Series Visual Effects Producer Chris Ryan, Series On-set Visual Effects Supervisor & CG Supervisor Christine Galvan, Series Visual Effects Production Manager Anita Milias, Series Visual Effects Production Coordinator Jordan Acomba, Series Visual Effects Editor Jason Snea, Visual Effects Compositor: Series VFX Production Team Hannes Poser, Visual Effects Supervisor: Image Engine Jamie Barty, Visual Effects Supervisor: FuseFX

Vikings: Valhalla • The Bridge • Netflix • A Netflix Series / An MGM Television Production Ben Mossman, VFX Supervisor Melanie Callaghan, VFX Producer Vishal Rustgi, VFX Producer Troy Tylka, CG Supervisor Mina Gaued, 2D Supervisor Jorge Perez, Lighting Lead Liz Sui, DMP Lead Blayke Nadeau, FX Lead Summer Zong, Asset Lead

Outstanding Stunt Coordination for a Comedy Series or Variety Program

WINNER: “Barry” • HBO/HBO Max • HBO in association with Alec Berg and Hanarply (Wade Allen, Stunt Coordinator )

Cobra Kai • Netflix • Sony Pictures Television for Netflix Ken Barefield, Stunt Coordinator

Hawkeye • Disney+ • Marvel Studios Heidi Moneymaker, Stunt Coordinator Noon Orsatti, Stunt Coordinator

Peacemaker • HBO/HBO Max • HBO Max in association with The Safran Company, Troll Court Entertainment, DC and Warner Bros. Television Wayne Dalglish, Stunt Coordinator Gaston Morrison, Stunt Coordinator

The Righteous Gemstones • HBO/HBO Max • HBO in association with Rough House John Copeman, Stunt Coordinator

What We Do In The Shadows • FX • FX Productions Tig Fong, Stunt Coordinator JF Lachapelle, Stunt Coordinator

Outstanding Stunt Coordination for a Drama Series, Limited or Anthology Series or Movie

WINNER: “Stranger Things” • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix (Hiro Koda, Stunt Coordinator)

The Blacklist • NBC • Sony Pictures Television Studios and Universal Television Cort L. Hessler III, Stunt Coordinator

The Book Of Boba Fett • Disney+ • Lucasfilm Ltd. JJ Dashnaw, Stunt Coordinator

Moon Knight • Disney+ • Marvel Studios Olivier Schneider, Stunt Coordinator Yves Girard, Stunt Coordinator

9-1-1: Lone Star • FOX • 20th Television in association with Ryan Murphy Television and Brad Falchuk Teley-Vision Buddy Sosthand, Stunt Coordinator

The Witcher • Netflix • A Netflix Original Series Adam Horton, Stunt Coordinator

Outstanding Stunt Performance

WINNER: “Squid Game” • Stick To The Team • Netflix • Siren Pictures for Netflix (Lim Tae-hoon, Stunt Performer; Shim Sang-min, Stunt Performer; Kim Cha-i, Stunt Performer; Lee Tae-young, Stunt Performer)

Barry • 710N • HBO/HBO Max • HBO in association with Alec Berg and Hanarply Clay Cullen, Stunt Performer David Castillo, Stunt Performer Jolene Van Vugt, Stunt Performer Chris Morrison, Stunt Performer

The Blacklist • Between Sleep And Awake • NBC • Sony Pictures Television Studios and Universal Television Chad Michael Hessler, Stunt Performer

Hawkeye • Echoes • Disney+ • Marvel Studios Carl Richard Burden, Stunt Performer Noon Orsatti, Stunt Performer Renae Moneymaker, Stunt Performer Crystal Hooks, Stunt Performer

Moon Knight • Gods And Monsters • Disney+ • Marvel Studios Daren Nop, Stunt Performer Jamel Blissat, Stunt Performer Estelle Darnault, Stunt Performer Sara Leal, Stunt Performer

Stranger Things • Chapter Four: Dear Billy • Netflix • Monkey Massacre Productions & 21 Laps Entertainment for Netflix Matthew Scheib, Stunt Performer Jura Yury Kruze, Stunt Performer

Outstanding Television Movie

WINNER: “Chip ‘n’ Dale: Rescue Rangers” (Disney+)

“Ray Donovan: The Movie” (Showtime)

“Reno 911!: The Hunt For QAnon” (Paramount+)

“The Survivor” (HBO/HBO Max)

“Zoey’s Extraordinary Christmas” (The Roku Channel)

The post Artistic Arts Emmys 2022 Day 2 Winners appeared first on DAILY SAN FRANCISCO BAY NEWS.

Steel and wood have begun to rise for the expansion of the California College of the Arts at 1140 7th Street in San Francisco. The new facilities, dubbed Double Ground, allow CCA to close its Oakland campus and consolidate into the Design District with a new landmark designed by renowned Chicago architectural firm Studio Gang. The new building integrates exposed concrete and solid wood into a new creative complex in the heart of the urban campus.

Aerial view of the CCA campus with the San Francisco skyline in the background

Massive wooden structures of the CCA campus seen from the exposed corridors, rendering of Studio Aisle and Kilograph

The 2.3-acre expansion will create approximately 96,500 square feet of new floor space, with sidewalk improvements along Hooper, Irwin and 8th Streets. The new campus will combine CCA’s 22 undergraduate and 11 graduate programs. The tallest buildings will be 58 feet tall. Parking for 68 bicycles is included.

The facilities aim to be post-operated carbon neutral with net-zero energy, including a micro-grid for the campus to harvest and store clean energy. The buildings emphasize solid wood as the primary structural element, a relatively new building material with a lower carbon footprint than traditional materials such as concrete and steel.

CCA campus entry, rendering of Studio Aisle and Kilograph

CCA Campus in-situ concrete sign already visible

Cross-sectional diagram of the CCA campus, rendered by Studio Aisle

There will be two four-story buildings and one two-story solid wood wrapped with side timber braces and deep, 11-foot-deep open-air walkways. This simple, large-scale design throughout the campus will undoubtedly become a landmark of the CCA campus.

Below the three-story buildings, Studio Gang plays with the ground and second floor levels to move, hence the name Double Ground. The broad avenues connected to various pavilions serve as meeting places for students. The plans include outdoor spaces as well as indoor spaces to give students space to study and work. Studio Gang writes that “this multi-layered environment acts together as a laboratory where students and faculty can explore sustainable materials, processes and tools.”

Vertical cross-section of the CCA campus, site view from Studio Aisle

The following passage from CCA describes Double Ground site programming:

The “basement” at street level will house workshops and studios that require heavy equipment: facilities for ceramics, metal, sculpture and furniture, among others. Many of these ground floor spaces open onto shared maker courtyards and flexible outdoor courtyards that serve as extensions of the surrounding workshops while encouraging interaction among students working in a variety of disciplines and media. Large windows showcase what’s happening in the adjoining studios while maximizing the natural light inside. This transparency extends to the “Upper Ground”, a second main level with an outdoor plaza and a park-like garden overlooking the manufacturers’ courtyards below.

Interior of the CCA campus, rendering of the studio aisle and Kilograph

Student view of CCA campus, rendering of studio aisle and Kilograph

CCA was founded in Berkeley in 1907 before moving to Oakland in 1922 and San Francisco in 1996. The Oakland campus officially closed last year, with all students relocated to San Francisco. The school has around 1,600 students in undergraduate and graduate programs. The main building on the same block as the extension was remodeled by Leddy Maytum Stacy Architects from a Greyhound maintenance facility for the art school.

The school recently expanded its neighborhood student housing capacity with the addition of Blattner Hall by Leddy Maytum Stacy Architects in 2018 and Founders Hall by Stanley Saitowitz | Natoma Architects completed it in 2020.

CCA campus construction site

Hathaway Dinwiddie is the general contractor. Crews have already removed the former surface parking lot, excavated the foundation and begun erecting timber walls and steel rebar. Double Ground is expected to be completed next year.

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1140 7th Street California College of the Arts Double Ground Hathaway Dinwiddie Studio Aisle

The post Building Underway for California Faculty of the Arts Enlargement in San Francisco appeared first on DAILY SAN FRANCISCO BAY NEWS.

New spins on old roasted chestnuts, food drives with rumbling bass, drag in all its myriad joyful forms, punk rock hurrahs, even a little “Acid Xmas”—check out the below if you’re looking for a little tinsel-time.

THU/15: HOLIDAY GAIETY SF Symphony conductor Edwin Outwater and drag goddess Peaches Christ just slayed London’s Royal Abert Hall with their holiday extravaganza, don’t miss this annual cavalcade of queer entertainers (Sister Roma, Monet X-Change, Marga Gomez, Jocquese Whitfield, many more) donning their gay apparel and jingling all the way, backed by a full orchestra. The Symphony has a whole lineup of fun seasonal programs, including Harry Connick, Jr, and a Merry-achi Christmas, make sure to check out their site. 7:30pm, Davies Symphony Hall, SF. More info here.

THROUGH DECEMBER 23: GOLDEN GIRLS LIVE: THE CHRISTMAS EPISODES The heavenly Miami quartet is channeled by beloved local drag queens to raucous effect in this annual tradition. Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose), and Holotta Tymes (Sophia) sat up the Christmas punch with Christmas kaftans to die for. Victoria Theater, SF. More info here.

THROUGH DECEMBER 31: THE KINSEY SICKS: OY VEY IN A MANGER More drag holiday hijinks! “America’s Favorite (and only) Dragapella® Beautyshop Quartet returns home to NCTC for the holidays. In this bawdy and blasphemous musical, Angel, Winnie, Trixie, and Trampolina are trying to sell off their manger—yes, that manger—before it’s foreclosed upon. Crises arise, secrets are revealed, Jewish-Gentile tensions surface, and mayhem ensues, all in glorious four-part harmony.” New Conservatory Theater, SF. More info here.

THU/15-SAT/17: KILLING MY LOBSTER’S VERY SPECIAL HOLIDAY SPECIAL Forget Charlie Brown and the Grinch — Killing My Lobster, the self-described “eggnog of sketch comedy troupes,” are brewing up a hilariously schmentzy parody holiday variety show and performing it for you. Read our full review here. PianoFight Oakland, more info here.

Dance Along Nutcracker

SAT/17 + SUN/18: DANCE-ALONG NUTCRACKER I love this event so much, and it’s perfect for the whole family. The 75-piece San Francisco Lesbian/Gay Freedom Band performs selections of the famous Tchaikovsky score—now wrapped around a tale of a blizzard in San Francisco—and gets you up marching, whirling, clapping, and more. YBCA, SF. More info here.

SAT/17: FRINGE HOLIDAZE BASH The Fringe party at Madrone Art Bar has been reviving the indie-dance sounds of the 2000s since that decade ended. DJs Blondie K and subOctave invite you to don your glittery shutter shades and jingle some electro bells during a special holiday edition of the event. 9:30pm, Madrone Art Bar, SF. More info here.

A Very Merry Misfit Cabaret

SAT/17: A VERY MERRY MISFIT CABARET The fabulous Kate Robichaud and her merry band of singing, dancing, flying misfits bring out all the sparkle—and Gremlins, and Star Wars, and Grinches—of the solstice in this cavalcade of wow. 8pm, Alcazar Theater, SF. More info here.

SUN/18: BAYMELE KLEZMER TRIO This trio’s name means “little tree” in Yiddish, and in observance of Hannukah the group is keeping traditional Ashkenazi Jewish music alive, performing klezmer compositions that build on the traditional sounds of Poland, Ukraine, and Romania. 4pm, St Alban’s Church, Albany. More info here.

12/22: A NOT SO SILENT NIGHT Turn up the bass—and benefit the SF Firefighter’s holiday drive with canned food, toys, and clothing—at this pumping party. DJs Años b2b Singe, Bubblephunk, Dalfin, and Nunya put some rumble under the tree at this top-notch community event. The $10 cover goes straight to help others. 10pm, Temple, SF, more info here.

12/23: ACE’S SPACE RADIO XMAS XTRAVAGANZA Forget coal, it’s time for all the punks to get some rock in their stocking, with Fuzz Attack, TV Static, and Heat blowing some flaming guitar solos up your chimney, presented by omnipresent host Ace of Space Radio. 8:30pm, Amado’s, SF. More info here.

12/24: ACID XMAS Three of the wiggiest local DJs in the game—Solar, Mozhgan, and Tyrel Williams—get the stars twinkly with a celebration of acid house. Interzone DJs Hex Embrace, Saiman Li, Brandon Stewart, and Visc get dark in the back room. Perfect antidote for holiday Schmaltz. 9:30pm-3am, F8, SF. More info here.

12/23-12/25: KUNG PAO KOSHER COMEDY Thirty years in and comedian Lisa Patientig’s fantastic “Jewish comedy on Christmas in a Chinese restaurant” event is still killing it (kosherly). In-person ticket sales end December 15, but you can watch online from the comfort of your own menorah-lit home via Youtube if you miss the deadline. More info here.

The post Arts Forecast: 12 festive occasions to place a bit of jingle in your jangle appeared first on DAILY SAN FRANCISCO BAY NEWS.

For more than 50 years, shards of colorful glass, preserved in 25 carefully labeled envelopes, had been stored in an old Italian shoe box under Fred McDonald’s bed. The broken bits, taken from bombed and bullet-riddled churches throughout Europe during World War II, represented more than just shattered dreams and lives. To McDonald, a Seattle native who died in San Francisco in 2002, they were tangible links that fused history to the present, as well as the future.

Now that glass is the showpiece of an exhibit at the War Memorial Veterans Building in San Francisco’s Civic Center. “Remembered Light” includes the works of 13 artists who used those fragments, along with McDonald’s memories, to fashion new stained glass windows, sculptures and 3D pieces.

At the end of its run — the exhibit will be open Wednesday-Sunday through Nov. 20 — the works are destined for a more permanent installation in the Presidio Chapel.

Armelle Le Roux, a celebrated stained glass artist who has worked with teams restoring stained glass at San Francisco City Hall and managed prominent projects for Grace Cathedral and for New York City’s St. Thomas Church, learned of the hidden gems through an acquaintance and was the first artist to realize the potential of McDonald’s treasure trove.

She met with McDonald to discuss ways to bring the glass back into the light.

“At the time,” Le Roux says, “we talked about creating some sort of memorial piece. But because the glass had been saved as separate pieces, each with a name and history, everything had meaning, and I didn’t want to lose that.”

Le Roux began creating two stained glass pieces that incorporated two sets of shards, working them into designs based on their provenance and McDonald’s recollections. Eventually, she brought in other artists to create additional pieces.

Ariana Makau, an Oakland-based glass artist and conservator and founder of Nzilani Glass, says she was immediately struck by the project.

“It intrigued me on multiple levels,” Makau says. “It was like traveling through space and time, the way each piece of glass had been documented. That he had the foresight to do that appealed to me as a conservator.”

McDonald, an Episcopal minister, traveled to Germany in the early 1930s and witnessed the rise of Adolph Hitler, a man he first admired but came to despise. When was broke out, McDonald enlisted as a chaplain in the US Army, assigned first to San Francisco’s Fort Mason and later to the 12th Army, under the command of the legendary Gen. Omar Bradley. He soon found himself following the advancing troops through England, France, Belgium and, finally, Germany.

McDonald was tasked, says his great-nephew, San Francisco restaurateur Bruce McDonald, with finding suitable churches to hold services for all the non-Catholic soldiers. His travels included several places he’d visited during peace time, where he began picking up the broken remnants of stained glass windows.

“He was quite a packrat throughout his life,” Bruce says. “He collected menus from restaurants around the world. He loved to save things and always said that sometimes, it’s a small thing that brings back a memory.

As McDonald gathered the shards, he tucked them in envelopes and mailed them home to his mother. By war’s end, he had mailed 25 envelopes and collected more than just glass. He had documented the coordinates and the city where each piece was found and his observations of what remained after the battles. About one, he wrote:

“On or about Oct. 23rd, I entered the first German city to fall to our forces, the imperial but now roofless city of Aachen, a good thousand years old. A very new Church of the Holy Ghost on the outskirts had been the scene of a firefight and a wrecked tram stood by the forlorn and empty church. Down by the Cathedral, I saw an aged woman lugging two suitcases as she crawled over stone piles. Where was she going with her pitiful burden?”

“This church, obliterated during the Battle of Britain in August 1940, was a favorite of high church Episcopalians from the Pacific Northwest. In 1933, I had worshiped there many times, a special wrench to find this favorite ‘Fortress of the Faith’ gone.”

“I had just arrived in Normandy. There was an apple orchard where our Army headquarters was tented. In the evening, I walked into the flattened town spread out around a badly bombed church. A ghostly silence covered the deserted area except for the shoveling noise of a lone man trying to uncover his house. He saw me and glared. I represented the war, which had brought ruin to his house and home.

“I picked up some of the church glass and moved on.”

The shards might have remained hidden, their stories lost to time, if not for a chance meeting. McDonald, who continued to travel the world for many years after the war, had finally settled in San Francisco, a city he admired for its boldness and verve. After serving a congregation at St. Luke’s Episcopal Church, he had eased into retirement when one day he struck up a far-reaching conversation with a fellow resident at his retirement home. The topic turned to stained glass, and McDonald mentioned his unique collection. The woman knew of Le Roux’s work and reached out to her.

The Remembered Light works were completed in 2007 and put on display, first in the Presidio, before eventually making it to New Orleans’ World War II Museum, where COVID held them captive for a year. Finding a place to exhibit was sometimes difficult, Bruce McDonald says, because some museums shy away from religious exhibitions. But Remembered Light is not about religion, he says. It’s about one man’s journey through war. McDonald wants people to learn and see the connections between war and peace, as the exhibit returns home to San Francisco.

“Fred was a very articulate and educated worldly person,” Le Roux says. “At the end, I want people to have a sense of humanity, not just of religion and war. I want them to think about the impact of destruction. I’m sure people will feel the sorrow, but I want them to also feel hope.”

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SAN JOSE (KPIX 5) — A blighted block in East San Jose is about to get some badly needed attention from an arts group that wants to expand and redevelop the area.

The School of Arts and Culture at the Mexican Heritage Plaza wants to build performance and rehearsal spaces, a cafe, and a mental health clinic on the block where a row of vacant storefronts has been hit with vandalism and homeless encampments.

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“We will be filling a building that’s been vacant for seven or eight years,” said Chris Esparza, one of the school’s co-directors.

The site sits on the north side of Alum Rock Avenue at King Road, across the street from the school.

Esparza says the school has secured large financial grants from Santa Clara County and other supporters to begin the transformation which could revitalize the area. The mental health clinic will be run by Gardner Healthcare.

The redevelopment will also give a helping hand to the three small businesses already there.

“We’re going to focus on economic development, community development and cultural development, which we do best,” Esparza said.

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The school sits in a neighborhood that was an epicenter for death and illness during the pandemic and the trauma that comes with it.

The plaza itself—busy again with meetings and performances—was a testing and vaccination site for the last two years.

“We need to fix some inequities that have existed and move forward and thrive,” Esparza said.

Neighborhood reaction so far is positive even though some communities might say no to a mental health clinic moving in.

“I’ve had family with mental health problems, friends have had it. I know people who’ve committed suicide over it. So, any opportunity that we can help people is always a great idea,” said Alvaro Perez, who lives in the neighborhood.

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The School of Arts and Culture says if all goes well, a second redevelopment phase including housing could be in the future.

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