tv [untitled] March 7, 2011 5:30pm-6:00pm PST
where you have aging populations, to the needs of these people, shopping, these other neighborhoods. >> i do not know particularly about that issue in terms of the hill and connecting, but the grant money that john mentioned, the $3.5 million grant, is not for increasing density, it is for transit connectedness. physical improvements to the street. this plan is different than many of our other plants. we have essentially partner with mt a through this process. you notice the vast majority of activities in the plan are transportation and streetscape improvements. it is not seen as a growth- inducing. it is more about recognizing the problems and limitations that need addressing.
i do know through other discussion there are a number of systems here. of course, we are involved with bart, bicycles, muni connections, and commuter buses, which are becoming more and more prevalent. systemwide discussions have been taking place with muni, and will continue. >> the issue that the neighbor raised -- this is an issue in a lot of different neighborhoods. this is something that does not relate to planning, but it does indirectly i guess, because it relates to parking, what not. some of the neighborhood do not have permits. you need a certain percentage of neighborhood willing to pay into a certain fund. ironically, a lot of folks are probably parking their cars in those neighborhoods to take bart to commute to work or go to the airport. i think it is a bigger issue --
it is a neighborhood issue, obviously. it is not necessarily the type of issue we look at here. i imagine it is frustrating. we recognize there are those conflict issues, many layers of permiting, timing, regulations for meters in the area, need to be resolved. we did a rather detailed -- mta did a survey of the surrounding over various time periods. the statistics are that there is, in fact, available parking. whether it is convenient, right on diamond, or in the core of the district -- but the statistics will tell you, the perception is not there. but the information we have -- which is pretty good -- there is parking around if you are
willing to walk a block or two. we see the answer as being that kind of management of what is available on the street. we hear a lot of issues about that, inappropriate parking, some areas where the restrictions -- empty space that is not utilize because the restrictions are not practical for the circumstances. further work with mta will be needed on that. >> the idea is, people would use public transportation to get to bart -- you know what i'm saying? the infrastructure question is always -- >> this area is challenged with the constraints of space. the intersection between vehicles, fundamentally and pedestrians. there is not a lot of physical space for pedestrian. sidewalks are narrow. >> i used to live there -- >> at the corner of diamond and
bosworth, people are overflowing into the traffic lanes, literally to wait for buses. we are facing a bit of a car versus person walking -- >> i am all about transit first. i just think the parking concerned that people raise our kind of nuance. i do not drive but that does not mean we have to be insensitive to what is going on out there. >> there is practically only so much space we can provide. >> finally, i sat in on one conversation between bart, i do not want to go into the details, but i think there has been some miscommunication between bart and maybe our department, on some level. at some point, hopefully, there is better communication, so that is resolved. i am not willing to put it on anyone because there has been
missed communications -- miscommunications on both sides. that is something that needs to be worked on. maybe that is something the supervisor's office will have to look at. maybe it is a separate planning process. i do not know. we will see. hopefully, it moves along in a better manner in the future. commissioner antonini? >> i wanted to add a possible analogy. i know you have probably thought about this, an urban area that has many of the elements you have in glen park, and that is the oakland area. you have a bart station, freeway. as you move north along college, passing claremont, generally it seems to be managed well. maybe i am not there at the worst traffic times, but it does seem to fit together fairly well. the one element that you have
here that they do not is a second free with san jose avenue. that is the key because there is a divider there. it constricts everything into a narrow area where you have a bit more room to spread out. i think that would be one thing to look at. the calming of san jose, widening of sidewalks, making it easier for people to move on foot between these areas, i think, is key to solving the problems there. >> director? >> i just wanted to thank john and john and the community for their work. this has been a very focused and engaged community process. it has worked quite well. i just wanted to thank you for your work on this, think the community for their diligence, so many people for coming to the
meetings. it has been a gratifying process to see that connection take place on land use issues, so thank you all. >> i guess that is it. the meeting is adjourned. >> the planning meeting will convene its second meeting at 1:30 p.m. >> i work with the department of environment and we are recycling oil. thank you. we can go into a refinery and we
can use it again. they do oil changes and sell it anyway, so now they know when a ticket to a. hal>> to you have something you want to get rid of? >> why throw it away when you can reuse it? >> it can be filtered out and used for other products. >> [speaking spanish] >> it is going to be a good thing for us to take used motor oil from customers. we have a 75-gallon tank that we
used and we have someone take it from here to recycle. >> so far, we have 35 people. we have collected 78 gallons, if not more. these are other locations that you can go. it is absolutely free. you just need to have the location open. you are set to go. >> welcome to "culture wire." on this episode, we explore what it means to the aged, in today's society -- what it means to be
chicana in today's society. chica chic features an array of artwork by five leading chicana artists that addresses a range of issues such as integration, sustainability, and integration. using a distinct visual approach, each of the artist's response to the shifting needs of their communities in ways that offer unique perspectives and multiple points of entry. >> the exhibition is to bring together the voices of a new generation chicana artists, all of whom reference the works of the civil-rights movement in their works, but they are also responding to a new cultural concerns and new cultural circumstances. >> the works in the show include a large canvas depicting a woman washing the beach with her hair at the u.s./mexican border.
the painting encourages the viewer to engage with the current debates over immigration and the politics of women and labor. influenced by the campaigns of the chicano civil rights movement, this oakland artist is a print maker whose work has helped and sustainability with the immigrant community as well as other current sociopolitical issues. this print-based work draws on appropriated agricultural worker manuals and high fashion labels to satirically address class issues, cultural identities, and consumerism. >> angelica -- her father was an agricultural worker, so she has drawn a lot from the materials the agricultural department sends to agricultural workers, referencing the depiction of farm workers and some of the information about pesticide
application. >> mitzi combines a variety of media, including embroidery, to create artifacts of mexican, chicano, pop culture. she greets immensely detailed drawings of celebrities on the same platform of her friends and families. her work combines elements of chicano portraiture and low writer art, rendered in upon new art style, or intricate drawings on handkerchiefs, also -- often associated with prison art. her portrait of three girls is among several of original posters by the exhibition artists, which are on view at various bart stations as part of a public campaign funded by the national endowment of the arts. from the outset, the curator felt it was important for the exhibition to have a public art components of the work could reach the widest possible audience. more than just a promotion, the
posters connect the work of these powerful artists with new audiences, including the vital chicano and latino community. images can be found in bart stations located in san for cisco and oakland. >> it is enormously exciting for me personally and for the institution. the poster with up right after new year's, and i remember very vividly -- i am a regular rider, and i went into the station and saw the first poster i had seen, it was incredibly exciting. it is satisfying to know that through the campaign, we are reaching a broader audience. >> for more information about >> welcome to "culturewire." on this episode, the director of cultural affairs takes us on a field trip to the mission
district to check out odc's new 36,000 square foot campus, the largest in the region. >> for san franciscans, odc has a very significant significance. stands for a venerable performing arts organization celebrating its 40th anniversary of bringing fans and theaters to the bay area. standing with me today on "culturewire" is the theater director of odc. thank you for joining us. i mention that this is the 40th anniversary. >> it is indeed. >> i'm standing with you in a fabulous theater that was completed six months ago in time for this anniversary.
tell me about how it has been going for the last six months. >> absolutely. in terms of the anniversary, the dance company, which is our founding body, is celebrating its 40th anniversary, and it is the 30th anniversary, so it is historic for both sides, and the completion of the theater represents in some ways the completion of our entire campus that began in 2005. it has come to its fruition with the completion of the theater. the theater opening was remarkable. one of the things we wanted to do was to make sure that our community really truly -- our san francisco bay area community understood that this theater was for them. we invited 31 bay area companies to do a day-long performance marathon, so we really launched with a feeling of this is for everyone in this community. it was a tremendous thing to bring everyone together around
the opening of this building. >> you are part of our creative troika, including the founder, brenda wey and k.t. nelson. talk about what it is like to keep this campus going. >> it is a wonderful thing to be working with someone who is certainly your co-worker and also largely your mentor. i inherited the theater at a funny time in its life. it needed to make some decisions as an institution about what it wanted to be. whether it wanted to be exclusively a rental facility, it is needed to be a rehearsal space with a really high ceilings -- whatever it was, having that level of leadership that my founding director is also my boss really made that possible. i really felt like i had great stewardship and we were able to make really innovative decisions for how the theater could grow over the decade.
>> living with -- living with someone who is both your immediate boss and also a working artist is also a huge asset. that is one of the things that keeps the creativity flowing through odc. it is a campus about the creative process at all times. >> the theater was part of a second phase of capital fund raising and community support. the previous one had renovated the space where the rehearsal studios are and the school is, sell what does that sort of say about the importance of the odc in the community? >> i think it's spoke to the two very different tracks of our organization. part of what we do is education and outreach. part of what we do is performance on the part of our company, odc dance, and a third part of what we do is this presenting an incubation stage. when we came to people to talk about the theater as a second
investment after having built the dance commons, the distinct purpose of the theater really came through. what we were going to do with our venue was invest deeply in creativity, deeply in our regional artists, and we were going to do something that most mid-size san francisco venues have struggled to do. >> talk to me a little about the group other than odc that have used this space. >> one of the great pleasures in our opening season was to go back and invite two of our former resident artists to launch this space. arab laung was to invite two of the best known -- our launch was to invite two of the best known companies in the city to share in the event, and it was really exceptional. these are companies that i have worked with and the organization
has worked with releases they were either newborn or just a few years old, and to go back to that roster and invite two of our really major home town honeys to open a theater and be able to treat them as the professionals they have become with this opportunity, with this menu, and with the resources that were available was really a full circle experience for both of us. >> now that the theater has been fully renovated, where is it going? >> i believe that san francisco is in some ways to the nation what odc is to san francisco, which is to say that i believe the west coast is the hotbed for innovation. i think it is where major cultural innovations happen, where huge ideas are born and often raised up. it may not often be the marketplace that other major metropolitan areas are, but i do think is the center of where creativity sits. i think that what odc can do by
becoming this level of institution is raise the platform of san francisco. i name -- in many ways, it is sort of a death process, but putting an artist in contact with recording artists, with other major areas, with exchange companies around the country and the world will become a central part of what we do. >> it is clear that now there is a campus that has been built out and filled in, that odc is playing this fabulous supportive and incubated role, both for san francisco, the bay area, and the country. thank you so much for being part of "culturewire." >> my pleasure. >> and for contributing so much to the performing arts of our city. >> for more information, visit odc
>> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972.
i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does.
it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work.
>> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the
materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song,
270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print
shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth. this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20
lithographs inside and lined with beaver fur. really special. >> let's move on to the print shop. >> ok. the core of what we do is making things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the
artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things. anyone who has told you paradise is a book of rules is -- has only appeared through the windows. this is from all over coffee. we are contract printers for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team.