Krivoy Kolektiv (Aravah Berman-Mirkin, Sophia Sobko, Irina Zadov), 'The Four Mitzvot of the Queer Soviet Jewish Diaspora' (2021). Digital photographs of hand-embroidered Ukrainian headscarves. (Courtesy of the artists)
A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).
The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit California Jewish Open. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s Yerba Buena Center for the Arts, located directly across the street from CJM.
During the open call for California Jewish Open late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.
The selected artists then sent museum leadership a list of demands that included a call to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.
In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”
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Sobko added, “I wish for some ethical clarity and backbone and courage.”
The photo piece that Sobko withdrew, The Four Mitzvot of the Queer Soviet Jewish Diaspora, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.
CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a press release issued April 5, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)
Additionally, another museum funder, the Helen Diller Family Foundation, has been accused of funneling money into Canary Mission, an organization known for doxxing anti-Zionist students and professors.
King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”
Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.
In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.
“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”
Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.
“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”
“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”
“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.
Another artist, Liat Berdugo, separately withdrew from California Jewish Open, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.
The multimedia work Berdugo withdrew, Seeing It For the Trees, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”
The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”
The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.
Sobko describes the collective’s goals with a hopeful vision.
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“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”
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He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"},"tpham":{"type":"authors","id":"11753","meta":{"index":"authors_1591205172","id":"11753","found":true},"name":"Thien Pham","firstName":"Thien","lastName":"Pham","slug":"tpham","email":"thiendog@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Thien Pham | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/tpham"},"omayeda":{"type":"authors","id":"11872","meta":{"index":"authors_1591205172","id":"11872","found":true},"name":"Olivia Cruz Mayeda","firstName":"Olivia Cruz","lastName":"Mayeda","slug":"omayeda","email":"omayeda@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Editorial Intern ","bio":"Olivia Cruz Mayeda is a journalist in the Bay Area, a place that has been home to her family for over 100 years. Her writing has appeared in the \u003cem>San Francisco Chronicle\u003c/em> and The San Francisco Standard.","avatar":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]}],"headData":{"title":"Olivia Cruz Mayeda | KQED","description":"Editorial Intern ","ogImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/omayeda"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13957305":{"type":"posts","id":"arts_13957305","meta":{"index":"posts_1591205157","site":"arts","id":"13957305","found":true},"guestAuthors":[],"slug":"taiwanese-food-taiwanese-american-cultural-festival-san-francisco-union-square-2024","title":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever","publishDate":1715037453,"format":"standard","headTitle":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever | KQED","labelTerm":{},"content":"\u003cp>Once a year, the \u003ca href=\"https://www.kqed.org/arts/13929007/taiwanese-american-culture-festival-union-square-sf\">West Coast’s biggest Taiwanese American cultural celebration\u003c/a> takes over Union Square for a day of lion dance performances, acrobatics, live music, local art and, of course, a whole lot of delicious food. We’re talking beef noodle soup with hand-pulled noodles. Silky, sweet tofu pudding. Night market–style candied fruit skewers.\u003c/p>\n\u003cp>With all the discourse around \u003ca href=\"https://www.kqed.org/arts/13939383/downtown-san-francisco-doom-spiral-sucka-flea-market-holiday-spirit\">downtown San Francisco’s restaurant and retail apocalypse\u003c/a>, maybe \u003ci>this \u003c/i>is precisely what Union Square needs to bring some life to the neighborhood.\u003c/p>\n\u003cp>At least, that’s what Alan Ma, a co-director of this year’s \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Cultural Festival\u003c/a>, is hoping. Organized by the Bay Area chapter of the nonprofit \u003ca href=\"https://tacl.org/tap1/\">Taiwanese American Professionals\u003c/a> (TAP), the festival kicks off its 31st annual edition — minus a couple years’ hiatus during the height of the pandemic — on Saturday, May 11.\u003c/p>\n\u003cp>Unlike some previous incarnations of the festival, this year’s version won’t have a specific theme. Instead, Ma explains, the focus will just be on “revitalizing traffic or noise in San Francisco, given a lot of news of people leaving.”\u003c/p>\n\u003cp>“I just want to bring back what is still here, what is still alive in San Francisco,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13957310\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg\" alt=\"Women in nostalgic period costumes perform a choreographed Chinese yo-yo dance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A choreographed Chinese yo-yo performance at last year’s festival. \u003ccite>(Peter Chu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of how Ma and his fellow organizers hope to generate that sense of excitement is by offering the widest variety of Taiwanese foods and beverages in the festival’s history. In recent years, the only hot food options came from the tent operated by \u003ca href=\"https://www.liangsvillage.com/\">Liang’s Village\u003c/a>, a longtime \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">South Bay mainstay\u003c/a>. But as tasty as Liang’s is — and the restaurant will once again be on hand this year to sling hand-pulled beef noodle soup, lu rou fan and other classic Taiwanese dishes — there’s no way for a single vendor to capture all of the depth, breadth and overall vibrancy of the cuisine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So this year Ma is pulling in a number of other big names from the local Taiwanese food scene, including the soy milk shop \u003ca href=\"https://www.facebook.com/US.Soypresso\">US Soypresso\u003c/a>, shaved snow specialist \u003ca href=\"https://www.powdershavedsnow.com/about-us\">Powder\u003c/a> and \u003ca href=\"https://www.duanchunzhen-us.com/ca/?\">Duan Chun Zhen\u003c/a> (another beef noodle soup specialist, though it’ll be serving pork belly noodle soup and a selection of lu wei, or braised items, at the festival).\u003c/p>\n\u003cfigure id=\"attachment_13957311\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg\" alt=\"A bowl of egg fried rice topped with fried chop.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Duan Chun Zhen will have a booth at this year’s festival. Pictured here is the Cupertino restaurant’s fried rice with pork chop. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more striking, though, is the number of smaller Taiwanese pop-ups and homegrown food businesses — which are the backbone of the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">recent Taiwanese food renaissance\u003c/a> — that will be joining the festival this year.\u003c/p>\n\u003cp>A few of the notable participants: \u003ca href=\"https://www.instagram.com/oramasamadumplings/?hl=en\">Oramasama Dumpling\u003c/a> will be selling the Taiwanese-style steamed rice cakes known as \u003ca href=\"https://www.instagram.com/p/C3Ere34rC5t/\">kueh\u003c/a>. Cinnamon roll pop-up sensation \u003ca href=\"https://www.instagram.com/astrandabakery/?hl=en\">Astranda Bakery\u003c/a> will offer sweet potato rolls and laminated milk bread. \u003ca href=\"https://www.instagram.com/jessicalittlefu/?hl=en\">Jessica Little Fu\u003c/a> will peddle the aforementioned tofu pudding. And \u003ca href=\"https://mitkcatering.com/\">Maxine’s Kitchen\u003c/a>, the Hayward-based cult favorite bento caterer, will be slinging some of the most nostalgic food items: the so-called “rice burritos” known as \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan\u003c/a>, and “\u003ca href=\"https://en.wikipedia.org/wiki/Small_sausage_in_large_sausage\">little sausage wrapped inside a big sausage\u003c/a>,” a staple of every Taiwanese night market.\u003c/p>\n\u003cfigure id=\"attachment_13957319\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg\" alt=\"A red pork chop bento wit corn and egg.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the Taiwanese-style bentos from Maxine’s Kitchen \u003ccite>(Courtesy of Maxine's Kitchen / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13897936,arts_13956218,arts_13897868']According to Ma, most — but not all — of the vendors are Taiwanese Americans themselves. And in some cases, like the craft chocolate company \u003ca href=\"https://www.formosachocolates.com/\">Formosa Chocolates\u003c/a>, the Taiwanese American makers might not specialize in overtly Taiwanese foods. Taken all together, though, the festival should capture a fairly broad snapshot of the Bay Area’s current Taiwanese food scene.\u003c/p>\n\u003cp>The hope, Ma says, is that by having so many more food vendors, it’ll help mitigate some of the long lines that visitors may have experienced at last year’s festival. Even more important, though, is the way it will help promote a broader appreciation for Taiwanese food culture in the heart of downtown San Francisco.\u003c/p>\n\u003cp>“There are definitely more and more of these lesser-known and more hole-in-the-wall places that we want to showcase and give them a spotlight to the greater community of San Francisco,” Ma says.\u003c/p>\n\u003cfigure id=\"attachment_13957321\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg\" alt=\"Bags of Taiwanese dried fruit snacks for sale.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A booth selling Taiwanese-style dried fruit snacks at last year’s festival. \u003ccite>(Julia Yu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 11, from 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"More than a dozen Taiwanese food vendors will set up in Union Square for the day.","status":"publish","parent":0,"modified":1715038154,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":805},"headData":{"title":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever | KQED","description":"More than a dozen Taiwanese food vendors will set up in Union Square for the day.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever","datePublished":"2024-05-06T23:17:33.000Z","dateModified":"2024-05-06T23:29:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13957305","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957305/taiwanese-food-taiwanese-american-cultural-festival-san-francisco-union-square-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a year, the \u003ca href=\"https://www.kqed.org/arts/13929007/taiwanese-american-culture-festival-union-square-sf\">West Coast’s biggest Taiwanese American cultural celebration\u003c/a> takes over Union Square for a day of lion dance performances, acrobatics, live music, local art and, of course, a whole lot of delicious food. We’re talking beef noodle soup with hand-pulled noodles. Silky, sweet tofu pudding. Night market–style candied fruit skewers.\u003c/p>\n\u003cp>With all the discourse around \u003ca href=\"https://www.kqed.org/arts/13939383/downtown-san-francisco-doom-spiral-sucka-flea-market-holiday-spirit\">downtown San Francisco’s restaurant and retail apocalypse\u003c/a>, maybe \u003ci>this \u003c/i>is precisely what Union Square needs to bring some life to the neighborhood.\u003c/p>\n\u003cp>At least, that’s what Alan Ma, a co-director of this year’s \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Cultural Festival\u003c/a>, is hoping. Organized by the Bay Area chapter of the nonprofit \u003ca href=\"https://tacl.org/tap1/\">Taiwanese American Professionals\u003c/a> (TAP), the festival kicks off its 31st annual edition — minus a couple years’ hiatus during the height of the pandemic — on Saturday, May 11.\u003c/p>\n\u003cp>Unlike some previous incarnations of the festival, this year’s version won’t have a specific theme. Instead, Ma explains, the focus will just be on “revitalizing traffic or noise in San Francisco, given a lot of news of people leaving.”\u003c/p>\n\u003cp>“I just want to bring back what is still here, what is still alive in San Francisco,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13957310\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg\" alt=\"Women in nostalgic period costumes perform a choreographed Chinese yo-yo dance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A choreographed Chinese yo-yo performance at last year’s festival. \u003ccite>(Peter Chu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of how Ma and his fellow organizers hope to generate that sense of excitement is by offering the widest variety of Taiwanese foods and beverages in the festival’s history. In recent years, the only hot food options came from the tent operated by \u003ca href=\"https://www.liangsvillage.com/\">Liang’s Village\u003c/a>, a longtime \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">South Bay mainstay\u003c/a>. But as tasty as Liang’s is — and the restaurant will once again be on hand this year to sling hand-pulled beef noodle soup, lu rou fan and other classic Taiwanese dishes — there’s no way for a single vendor to capture all of the depth, breadth and overall vibrancy of the cuisine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So this year Ma is pulling in a number of other big names from the local Taiwanese food scene, including the soy milk shop \u003ca href=\"https://www.facebook.com/US.Soypresso\">US Soypresso\u003c/a>, shaved snow specialist \u003ca href=\"https://www.powdershavedsnow.com/about-us\">Powder\u003c/a> and \u003ca href=\"https://www.duanchunzhen-us.com/ca/?\">Duan Chun Zhen\u003c/a> (another beef noodle soup specialist, though it’ll be serving pork belly noodle soup and a selection of lu wei, or braised items, at the festival).\u003c/p>\n\u003cfigure id=\"attachment_13957311\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg\" alt=\"A bowl of egg fried rice topped with fried chop.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Duan Chun Zhen will have a booth at this year’s festival. Pictured here is the Cupertino restaurant’s fried rice with pork chop. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more striking, though, is the number of smaller Taiwanese pop-ups and homegrown food businesses — which are the backbone of the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">recent Taiwanese food renaissance\u003c/a> — that will be joining the festival this year.\u003c/p>\n\u003cp>A few of the notable participants: \u003ca href=\"https://www.instagram.com/oramasamadumplings/?hl=en\">Oramasama Dumpling\u003c/a> will be selling the Taiwanese-style steamed rice cakes known as \u003ca href=\"https://www.instagram.com/p/C3Ere34rC5t/\">kueh\u003c/a>. Cinnamon roll pop-up sensation \u003ca href=\"https://www.instagram.com/astrandabakery/?hl=en\">Astranda Bakery\u003c/a> will offer sweet potato rolls and laminated milk bread. \u003ca href=\"https://www.instagram.com/jessicalittlefu/?hl=en\">Jessica Little Fu\u003c/a> will peddle the aforementioned tofu pudding. And \u003ca href=\"https://mitkcatering.com/\">Maxine’s Kitchen\u003c/a>, the Hayward-based cult favorite bento caterer, will be slinging some of the most nostalgic food items: the so-called “rice burritos” known as \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan\u003c/a>, and “\u003ca href=\"https://en.wikipedia.org/wiki/Small_sausage_in_large_sausage\">little sausage wrapped inside a big sausage\u003c/a>,” a staple of every Taiwanese night market.\u003c/p>\n\u003cfigure id=\"attachment_13957319\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg\" alt=\"A red pork chop bento wit corn and egg.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the Taiwanese-style bentos from Maxine’s Kitchen \u003ccite>(Courtesy of Maxine's Kitchen / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897936,arts_13956218,arts_13897868","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>According to Ma, most — but not all — of the vendors are Taiwanese Americans themselves. And in some cases, like the craft chocolate company \u003ca href=\"https://www.formosachocolates.com/\">Formosa Chocolates\u003c/a>, the Taiwanese American makers might not specialize in overtly Taiwanese foods. Taken all together, though, the festival should capture a fairly broad snapshot of the Bay Area’s current Taiwanese food scene.\u003c/p>\n\u003cp>The hope, Ma says, is that by having so many more food vendors, it’ll help mitigate some of the long lines that visitors may have experienced at last year’s festival. Even more important, though, is the way it will help promote a broader appreciation for Taiwanese food culture in the heart of downtown San Francisco.\u003c/p>\n\u003cp>“There are definitely more and more of these lesser-known and more hole-in-the-wall places that we want to showcase and give them a spotlight to the greater community of San Francisco,” Ma says.\u003c/p>\n\u003cfigure id=\"attachment_13957321\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg\" alt=\"Bags of Taiwanese dried fruit snacks for sale.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A booth selling Taiwanese-style dried fruit snacks at last year’s festival. \u003ccite>(Julia Yu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 11, from 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957305/taiwanese-food-taiwanese-american-cultural-festival-san-francisco-union-square-2024","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_14125","arts_1297","arts_14398","arts_1146","arts_15151","arts_585"],"featImg":"arts_13957309","label":"source_arts_13957305"},"arts_13957530":{"type":"posts","id":"arts_13957530","meta":{"index":"posts_1591205157","site":"arts","id":"13957530","found":true},"guestAuthors":[],"slug":"barbara-stauffacher-solomon-supergraphics-obituary","title":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","publishDate":1715220738,"format":"aside","headTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95 | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","status":"publish","parent":0,"modified":1715220846,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1357},"headData":{"title":"Artist Barbara Stauffacher Solomon Dies at 95 | KQED","description":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","ogTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","ogDescription":"","ogImgId":"","twTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","twDescription":"","twImgId":"","socialTitle":"Artist Barbara Stauffacher Solomon Dies at 95 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","datePublished":"2024-05-09T02:12:18.000Z","dateModified":"2024-05-09T02:14:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957530","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","authors":["11743"],"categories":["arts_1","arts_235","arts_1564","arts_70"],"tags":["arts_10278","arts_1091","arts_21789","arts_1146","arts_1381"],"featImg":"arts_13957522","label":"arts"},"arts_13957514":{"type":"posts","id":"arts_13957514","meta":{"index":"posts_1591205157","site":"arts","id":"13957514","found":true},"guestAuthors":[],"slug":"1896-mystery-airship-bay-area-ufo-history-victorian-aliens","title":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","publishDate":1715374318,"format":"aside","headTitle":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>[aside postid='arts_13917340']Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>[aside postid='arts_13919589']Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>[aside postid='arts_13935838']By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n","blocks":[],"excerpt":"For weeks, witnesses in San Francisco, Oakland and Sacramento saw a mysterious \"airship.\" Then it disappeared.","status":"publish","parent":0,"modified":1715383511,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1231},"headData":{"title":"The 1896 UFO That Stunned Bay Area Victorians | KQED","description":"For weeks, witnesses in San Francisco, Oakland and Sacramento saw a mysterious "airship." Then it disappeared.","ogTitle":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","ogDescription":"","ogImgId":"","twTitle":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","twDescription":"","twImgId":"","socialTitle":"The 1896 UFO That Stunned Bay Area Victorians%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","datePublished":"2024-05-10T20:51:58.000Z","dateModified":"2024-05-10T23:25:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957514","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917340","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919589","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935838","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens","authors":["11242"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_14353","arts_1143","arts_5779","arts_1146"],"featImg":"arts_13957664","label":"arts"},"arts_13957599":{"type":"posts","id":"arts_13957599","meta":{"index":"posts_1591205157","site":"arts","id":"13957599","found":true},"guestAuthors":[],"slug":"late-night-thai-food-dessert-sf-ping-yang","title":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","publishDate":1715301200,"format":"aside","headTitle":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13957597\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg\" alt=\"Illustration: Two men eat noodles and Thai desserts with an animalistic fervor.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The charms of Ping Yang Thai Grill & Dessert are at least twofold: homey Thai noodles and rice dishes, and over-the-top Asian desserts. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>One of the most charming restaurants I’ve been to in San Francisco is a little Thai cafe that sits on a relatively unobtrusive street corner in Lower Nob Hill, stays open until midnight every night, and serves a menu that’s equal parts impeccable Thai home cooking and gloriously over-the-top desserts.\u003c/p>\n\u003cp>And that’s only the beginning of the pleasures that \u003ca href=\"https://www.pingyangthaigrilldessert.com/\">Ping Yang Thai Grill & Dessert\u003c/a> has to offer.\u003c/p>\n\u003cp>The restaurant has a cozy, lived-in quality. The walls are lined with succulents, climbing vine plants and other assorted greenery. The steady stream of guitar-driven Thai pop-rock that plays over the speakers was catchy enough to get my head bopping. A small bookshelf is stocked with the same mix of slightly random reading material you might find in a friend’s living room: \u003ci>Harry Potter\u003c/i>, \u003ci>The Catcher in the Rye\u003c/i>, some test prep workbooks, the Thai translation of the \u003ci>Detective Conan\u003c/i> manga.\u003c/p>\n\u003cp>The menu, too, is optimized with an eye toward homey comfort. Which isn’t to say that the cooking is uninteresting or unambitious. In fact, Ping Yang serves a whole slew of dishes that I rarely see at other Thai restaurants in the Bay Area, like fried silkworms and mok pla — a Lao dish that consists of catfish steamed inside a banana leaf. This is, after all, the kind of Thai restaurant that has a specials board handwritten in Thai, with no translation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ping Yang also serves one of the most ubiquitous home-cooked Thai dishes that you’ll only occasionally find at a restaurant: a Thai omelet. This is one of my all-time favorite egg dishes (which, coming from an egg-obsessed person, says a lot) — essentially just egg and fish sauce, whisked together and fried quickly in a hot wok until it’s puffed up and golden-brown. Served over a plate of hot jasmine rice, Ping Yang’s herb-flecked version is simple and supremely comforting, especially when doctored with a few dabs of Sriracha. Left to my own devices, I would happily eat this twice a week.\u003c/p>\n\u003cp>In a similar comfort food vein: the restaurant’s pad see ew, which, by contrast, is a dish you can find at practically every Thai restaurant in the U.S. But I was enamored with Ping Yang’s homey, oil-slicked version of the dish, which was loaded with vegetables and full of umami without being overly salty. It didn’t hurt that I ordered the version with pork jowl, a luxurious, underrated cut that gives you a little of the fattiness of the belly with a nice, crisp, cartilaginous chew. After applying a few liberal drops of prik nam som (chili vinegar) from the condiment caddy, we inhaled this dish in a matter of minutes.\u003c/p>\n\u003cp>Again, this is restaurant-quality food cooked with light enough a touch that I could easily imagine myself eating here multiple times a week if I lived in the neighborhood — especially with so much of the menu left to explore, and many of the dishes priced at $15 or less.\u003c/p>\n\u003cfigure id=\"attachment_13957596\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg\" alt='Illustration: Exterior of a restaurant at nighttime — the sign reads \"Ping Yang.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located in Lower Nob Hill, the restaurant is open until midnight every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Truth be told, I would come even if the food were only half as good, because the vibe at Ping Yang is just so pleasant, welcoming and chill. Half the people who came in during our visit seemed to be regulars or personal friends of the owners, and no one seemed to be in any particular rush. At around 10 o’clock on a Thursday night, a couple of thirtysomething Thai dudes had their laptops out, sipping cold Thai lagers while they worked on a project. Others came in after dinner elsewhere just to share a dessert.\u003c/p>\n\u003cp>The service, meanwhile, was friendly without being overly familiar. I especially appreciated the conviction with which our server delivered her recommendations when we asked for them. “The pad see ew is my favorite,” she said without a moment’s hesitation when we asked about the noodle dishes. And later, when it was time for dessert, she once again spoke, with absolute certainty, in favor of the watermelon bing soo.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13954983,arts_13953702,arts_13952823']\u003c/span>\u003c/span>Ah yes, dessert. Can I speak for a moment on how dispiriting I have found it, personally, that there aren’t more dessert shops in the Bay Area open past, say, 9 o’clock? The struggle is real, and if you’ve felt it too, I am here to tell you that Ping Yang is the solution to your woes: It serves a vast Thai and pan-Asian dessert menu until midnight every night. In contrast to the homey, simple quality of the savory foods, the desserts are elaborate and over-the-top in a way that feels made for Instagram — but \u003ci>also \u003c/i>entirely delicious.\u003c/p>\n\u003cp>There are Hong Kong–style toast boxes filled to overflowing with ube ice cream, whipped cream and all manner of fresh fruits. There are variations on the Thai-style dessert rotis that are wildly popular at night markets all across Asia. The banana roti we tried was a deconstructed version — crispy roti wedges piled on a plate and topped with whipped cream, chocolate sauce and condensed milk, with a stack of banana slices arranged neatly on the side. You assemble each perfect bite yourself.\u003c/p>\n\u003cp>As for that watermelon bing soo? It was fully half of a small, sweet watermelon, served with the carved-out balls of its flesh piled high inside the rind itself. Layered inside was the bing soo, or shaved ice, itself — mixed with condensed milk and shaved so finely that for the first several bites I was convinced it was ice cream.\u003c/p>\n\u003cp>Let’s just say the recommendation didn’t miss: This was the tastiest, most refreshing dessert I’d eaten in months.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pingyangsf/\">\u003ci>Ping Yang Grill & Dessert\u003c/i>\u003c/a>\u003ci> is open Monday through Saturday from noon–3 p.m. and 5 p.m.–midnight, and Sunday 5 p.m.–midnight at 955 Larkin St. in San Francisco.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Ping Yang Thai Grill & Dessert is a late-night comfort food oasis in SF.","status":"publish","parent":0,"modified":1715451296,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1116},"headData":{"title":"This Late-Night Thai Restaurant in SF Serves Dessert Until Midnight | KQED","description":"Ping Yang Thai Grill & Dessert is a late-night comfort food oasis in SF.","ogTitle":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","ogDescription":"","ogImgId":"","twTitle":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","twDescription":"","twImgId":"","socialTitle":"This Late-Night Thai Restaurant in SF Serves Dessert Until Midnight %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","datePublished":"2024-05-10T00:33:20.000Z","dateModified":"2024-05-11T18:14:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13957599","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957599/late-night-thai-food-dessert-sf-ping-yang","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957597\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg\" alt=\"Illustration: Two men eat noodles and Thai desserts with an animalistic fervor.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The charms of Ping Yang Thai Grill & Dessert are at least twofold: homey Thai noodles and rice dishes, and over-the-top Asian desserts. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>One of the most charming restaurants I’ve been to in San Francisco is a little Thai cafe that sits on a relatively unobtrusive street corner in Lower Nob Hill, stays open until midnight every night, and serves a menu that’s equal parts impeccable Thai home cooking and gloriously over-the-top desserts.\u003c/p>\n\u003cp>And that’s only the beginning of the pleasures that \u003ca href=\"https://www.pingyangthaigrilldessert.com/\">Ping Yang Thai Grill & Dessert\u003c/a> has to offer.\u003c/p>\n\u003cp>The restaurant has a cozy, lived-in quality. The walls are lined with succulents, climbing vine plants and other assorted greenery. The steady stream of guitar-driven Thai pop-rock that plays over the speakers was catchy enough to get my head bopping. A small bookshelf is stocked with the same mix of slightly random reading material you might find in a friend’s living room: \u003ci>Harry Potter\u003c/i>, \u003ci>The Catcher in the Rye\u003c/i>, some test prep workbooks, the Thai translation of the \u003ci>Detective Conan\u003c/i> manga.\u003c/p>\n\u003cp>The menu, too, is optimized with an eye toward homey comfort. Which isn’t to say that the cooking is uninteresting or unambitious. In fact, Ping Yang serves a whole slew of dishes that I rarely see at other Thai restaurants in the Bay Area, like fried silkworms and mok pla — a Lao dish that consists of catfish steamed inside a banana leaf. This is, after all, the kind of Thai restaurant that has a specials board handwritten in Thai, with no translation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ping Yang also serves one of the most ubiquitous home-cooked Thai dishes that you’ll only occasionally find at a restaurant: a Thai omelet. This is one of my all-time favorite egg dishes (which, coming from an egg-obsessed person, says a lot) — essentially just egg and fish sauce, whisked together and fried quickly in a hot wok until it’s puffed up and golden-brown. Served over a plate of hot jasmine rice, Ping Yang’s herb-flecked version is simple and supremely comforting, especially when doctored with a few dabs of Sriracha. Left to my own devices, I would happily eat this twice a week.\u003c/p>\n\u003cp>In a similar comfort food vein: the restaurant’s pad see ew, which, by contrast, is a dish you can find at practically every Thai restaurant in the U.S. But I was enamored with Ping Yang’s homey, oil-slicked version of the dish, which was loaded with vegetables and full of umami without being overly salty. It didn’t hurt that I ordered the version with pork jowl, a luxurious, underrated cut that gives you a little of the fattiness of the belly with a nice, crisp, cartilaginous chew. After applying a few liberal drops of prik nam som (chili vinegar) from the condiment caddy, we inhaled this dish in a matter of minutes.\u003c/p>\n\u003cp>Again, this is restaurant-quality food cooked with light enough a touch that I could easily imagine myself eating here multiple times a week if I lived in the neighborhood — especially with so much of the menu left to explore, and many of the dishes priced at $15 or less.\u003c/p>\n\u003cfigure id=\"attachment_13957596\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg\" alt='Illustration: Exterior of a restaurant at nighttime — the sign reads \"Ping Yang.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located in Lower Nob Hill, the restaurant is open until midnight every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Truth be told, I would come even if the food were only half as good, because the vibe at Ping Yang is just so pleasant, welcoming and chill. Half the people who came in during our visit seemed to be regulars or personal friends of the owners, and no one seemed to be in any particular rush. At around 10 o’clock on a Thursday night, a couple of thirtysomething Thai dudes had their laptops out, sipping cold Thai lagers while they worked on a project. Others came in after dinner elsewhere just to share a dessert.\u003c/p>\n\u003cp>The service, meanwhile, was friendly without being overly familiar. I especially appreciated the conviction with which our server delivered her recommendations when we asked for them. “The pad see ew is my favorite,” she said without a moment’s hesitation when we asked about the noodle dishes. And later, when it was time for dessert, she once again spoke, with absolute certainty, in favor of the watermelon bing soo.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954983,arts_13953702,arts_13952823","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Ah yes, dessert. Can I speak for a moment on how dispiriting I have found it, personally, that there aren’t more dessert shops in the Bay Area open past, say, 9 o’clock? The struggle is real, and if you’ve felt it too, I am here to tell you that Ping Yang is the solution to your woes: It serves a vast Thai and pan-Asian dessert menu until midnight every night. In contrast to the homey, simple quality of the savory foods, the desserts are elaborate and over-the-top in a way that feels made for Instagram — but \u003ci>also \u003c/i>entirely delicious.\u003c/p>\n\u003cp>There are Hong Kong–style toast boxes filled to overflowing with ube ice cream, whipped cream and all manner of fresh fruits. There are variations on the Thai-style dessert rotis that are wildly popular at night markets all across Asia. The banana roti we tried was a deconstructed version — crispy roti wedges piled on a plate and topped with whipped cream, chocolate sauce and condensed milk, with a stack of banana slices arranged neatly on the side. You assemble each perfect bite yourself.\u003c/p>\n\u003cp>As for that watermelon bing soo? It was fully half of a small, sweet watermelon, served with the carved-out balls of its flesh piled high inside the rind itself. Layered inside was the bing soo, or shaved ice, itself — mixed with condensed milk and shaved so finely that for the first several bites I was convinced it was ice cream.\u003c/p>\n\u003cp>Let’s just say the recommendation didn’t miss: This was the tastiest, most refreshing dessert I’d eaten in months.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pingyangsf/\">\u003ci>Ping Yang Grill & Dessert\u003c/i>\u003c/a>\u003ci> is open Monday through Saturday from noon–3 p.m. and 5 p.m.–midnight, and Sunday 5 p.m.–midnight at 955 Larkin St. in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957599/late-night-thai-food-dessert-sf-ping-yang","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_22144","arts_10278","arts_1297","arts_8805","arts_1146","arts_21928"],"featImg":"arts_13957595","label":"source_arts_13957599"},"arts_13957582":{"type":"posts","id":"arts_13957582","meta":{"index":"posts_1591205157","site":"arts","id":"13957582","found":true},"guestAuthors":[],"slug":"stern-grove-lineup-san-francisco-2024-free-concerts","title":"How to See Chaka Khan, Chicano Batman for Free at Stern Grove","publishDate":1715360227,"format":"standard","headTitle":"How to See Chaka Khan, Chicano Batman for Free at Stern Grove | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>, a San Francisco institution if there ever was one, is back for an 87th season of free outdoor concerts starting June 23 and continuing every Sunday through Aug. 25.\u003c/p>\n\u003cp>Its eclectic lineup kicks off with a performance by popular queer indie rock duo \u003ca href=\"https://youtu.be/BTMt8sjbFtU?si=t7tlrfmZAeYZHOwS\">Tegan and Sara\u003c/a>, with an opening set from rising Oakland singer-songwriter \u003ca href=\"https://kingisis.bandcamp.com/\">King Isis\u003c/a>. June 30 sees the arrival of \u003ca href=\"https://youtu.be/fsmwWjU_Xaw?si=WyN7fbGLEQjueAwN\">Chicano Batman\u003c/a>, whose oozing, psychedelic guitar pop shines on their new, bilingual album, \u003cem>Notebook Fantasy\u003c/em>; Colombian Canadian singer \u003ca href=\"https://youtu.be/K0nRktrfhPk?si=OdidVB2CnIsKEvh7\">Lido Pimiento\u003c/a> will open with her tropical, electronic indie pop.\u003c/p>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg\" alt=\"Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On July 7, the San Francisco Symphony performs en plein air with Broadway singer and actress \u003ca href=\"https://youtu.be/jSiWuNb8b_A?si=mo2jjp20PzXSbRYz\">Jessica Vosk\u003c/a>. Funk and soul legends the Commodores (the band of “\u003ca href=\"https://youtu.be/KzOJaHHlIcQ?si=X5S7aWX06UH1qCuq\">Brick House\u003c/a>” fame that gave rise to Lionel Richie) perform July 14 with \u003ca href=\"https://youtu.be/tiAf94VSPI0?si=PctRNudqQ5kGZWM2\">The Grease Traps\u003c/a>. July 21 welcomes saxophonist and R&B singer \u003ca href=\"https://youtu.be/hC8CH0Z3L54?si=hLErNIUsSU3tF-AC\">Masego\u003c/a>, along with soulful Oakland vocalist \u003ca href=\"https://youtu.be/N5cET-ipUcQ?si=MZ_j1dh-Cw1jXX78\">Satya\u003c/a>.\u003c/p>\n\u003cp>Nu-disco British electronic duo \u003ca href=\"https://youtu.be/uFJomteTY7k?si=qQ1apaG6yHKxutQs\">Franc Moody\u003c/a> takes the stage July 28 with funk revivalists \u003ca href=\"https://www.youtube.com/watch?v=NSdAUJhLZNc\">Drama\u003c/a>. Indie rocker \u003ca href=\"https://youtu.be/zV75x00RiKI?si=Wi9M3GCo6nU8VrXq\">Alex G\u003c/a> and local faves \u003ca href=\"https://youtu.be/09XNN3nfNlk?si=H8t3WpYkyh60-_LS\">Fake Fruit\u003c/a> perform on Aug. 4.\u003c/p>\n\u003cp>Jazz legend Herbie Hancock — who has \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#herbie-hancock-records-head-hunters-in-the-tenderloin\">plenty of history\u003c/a> in San Francisco — headlines Aug. 11, with the SFJAZZ Collective. Americana treasure \u003ca href=\"https://youtu.be/mTu4cXW9H_Q?si=JyevuVRy34g8E3f8\">Lucinda Williams\u003c/a> performs on Aug. 18 with \u003ca href=\"https://youtu.be/5LZtcCsCwP8?si=jm28IqDCMxvDM_L6\">Jobi Riccio\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit performs at Pitchfork Music Festival London in 2022. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the closing Big Picnic Weekend, which also includes a Saturday show, electronic pop duo Sylvan Esso (whose song “\u003ca href=\"https://youtu.be/Qr5AIKRPIHo?si=lSV7PVLzeF4bVPjs\">Coffee\u003c/a>” you’ve definitely heard even if you don’t know it by name) performs Aug. 24 with lounge-y disco and pop band \u003ca href=\"https://youtu.be/8_I7AS90OV4?si=kqK2aIQcikLAbOcp\">Poolside\u003c/a>. And finally, on Aug. 25, the queen of funk, boogie and disco \u003ca href=\"https://youtu.be/BNirQXe8HOA?si=_aWlSodf42Pb43eN\">Chaka Khan\u003c/a> closes out the summer festivities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All shows are free, but RSVP is required. \u003ca href=\"https://www.sterngrove.org/\">Tickets\u003c/a> get released one month ahead of each event at 2 p.m. Reserved table seating is available for purchase, and the concerts will also broadcast and livestream on KPIX.\u003c/p>\n\n","blocks":[],"excerpt":"The concert series also includes Herbie Hancock, Alex G, Lucinda Williams, the Commodores and more.","status":"publish","parent":0,"modified":1715355580,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":362},"headData":{"title":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more | KQED","description":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","ogTitle":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more","ogDescription":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","ogImgId":"","twTitle":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more","twDescription":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","twImgId":"","socialTitle":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more %%page%% %%sep%% KQED","socialDescription":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","schema":{"@context":"http://schema.org","@type":"Article","headline":"How to See Chaka Khan, Chicano Batman for Free at Stern Grove","datePublished":"2024-05-10T16:57:07.000Z","dateModified":"2024-05-10T15:39:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>, a San Francisco institution if there ever was one, is back for an 87th season of free outdoor concerts starting June 23 and continuing every Sunday through Aug. 25.\u003c/p>\n\u003cp>Its eclectic lineup kicks off with a performance by popular queer indie rock duo \u003ca href=\"https://youtu.be/BTMt8sjbFtU?si=t7tlrfmZAeYZHOwS\">Tegan and Sara\u003c/a>, with an opening set from rising Oakland singer-songwriter \u003ca href=\"https://kingisis.bandcamp.com/\">King Isis\u003c/a>. June 30 sees the arrival of \u003ca href=\"https://youtu.be/fsmwWjU_Xaw?si=WyN7fbGLEQjueAwN\">Chicano Batman\u003c/a>, whose oozing, psychedelic guitar pop shines on their new, bilingual album, \u003cem>Notebook Fantasy\u003c/em>; Colombian Canadian singer \u003ca href=\"https://youtu.be/K0nRktrfhPk?si=OdidVB2CnIsKEvh7\">Lido Pimiento\u003c/a> will open with her tropical, electronic indie pop.\u003c/p>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg\" alt=\"Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On July 7, the San Francisco Symphony performs en plein air with Broadway singer and actress \u003ca href=\"https://youtu.be/jSiWuNb8b_A?si=mo2jjp20PzXSbRYz\">Jessica Vosk\u003c/a>. Funk and soul legends the Commodores (the band of “\u003ca href=\"https://youtu.be/KzOJaHHlIcQ?si=X5S7aWX06UH1qCuq\">Brick House\u003c/a>” fame that gave rise to Lionel Richie) perform July 14 with \u003ca href=\"https://youtu.be/tiAf94VSPI0?si=PctRNudqQ5kGZWM2\">The Grease Traps\u003c/a>. July 21 welcomes saxophonist and R&B singer \u003ca href=\"https://youtu.be/hC8CH0Z3L54?si=hLErNIUsSU3tF-AC\">Masego\u003c/a>, along with soulful Oakland vocalist \u003ca href=\"https://youtu.be/N5cET-ipUcQ?si=MZ_j1dh-Cw1jXX78\">Satya\u003c/a>.\u003c/p>\n\u003cp>Nu-disco British electronic duo \u003ca href=\"https://youtu.be/uFJomteTY7k?si=qQ1apaG6yHKxutQs\">Franc Moody\u003c/a> takes the stage July 28 with funk revivalists \u003ca href=\"https://www.youtube.com/watch?v=NSdAUJhLZNc\">Drama\u003c/a>. Indie rocker \u003ca href=\"https://youtu.be/zV75x00RiKI?si=Wi9M3GCo6nU8VrXq\">Alex G\u003c/a> and local faves \u003ca href=\"https://youtu.be/09XNN3nfNlk?si=H8t3WpYkyh60-_LS\">Fake Fruit\u003c/a> perform on Aug. 4.\u003c/p>\n\u003cp>Jazz legend Herbie Hancock — who has \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#herbie-hancock-records-head-hunters-in-the-tenderloin\">plenty of history\u003c/a> in San Francisco — headlines Aug. 11, with the SFJAZZ Collective. Americana treasure \u003ca href=\"https://youtu.be/mTu4cXW9H_Q?si=JyevuVRy34g8E3f8\">Lucinda Williams\u003c/a> performs on Aug. 18 with \u003ca href=\"https://youtu.be/5LZtcCsCwP8?si=jm28IqDCMxvDM_L6\">Jobi Riccio\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit performs at Pitchfork Music Festival London in 2022. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the closing Big Picnic Weekend, which also includes a Saturday show, electronic pop duo Sylvan Esso (whose song “\u003ca href=\"https://youtu.be/Qr5AIKRPIHo?si=lSV7PVLzeF4bVPjs\">Coffee\u003c/a>” you’ve definitely heard even if you don’t know it by name) performs Aug. 24 with lounge-y disco and pop band \u003ca href=\"https://youtu.be/8_I7AS90OV4?si=kqK2aIQcikLAbOcp\">Poolside\u003c/a>. And finally, on Aug. 25, the queen of funk, boogie and disco \u003ca href=\"https://youtu.be/BNirQXe8HOA?si=_aWlSodf42Pb43eN\">Chaka Khan\u003c/a> closes out the summer festivities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All shows are free, but RSVP is required. \u003ca href=\"https://www.sterngrove.org/\">Tickets\u003c/a> get released one month ahead of each event at 2 p.m. Reserved table seating is available for purchase, and the concerts will also broadcast and livestream on KPIX.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10278","arts_1146","arts_1788","arts_585"],"featImg":"arts_13916882","label":"arts_140"},"arts_13957626":{"type":"posts","id":"arts_13957626","meta":{"index":"posts_1591205157","site":"arts","id":"13957626","found":true},"guestAuthors":[],"slug":"oakland-greek-festival-lamb-gyro-2024","title":"The Oakland Greek Festival Is the Ultimate Church Potluck","publishDate":1715371695,"format":"standard","headTitle":"The Oakland Greek Festival Is the Ultimate Church Potluck | KQED","labelTerm":{},"content":"\u003cp>Give me a choice between Michelin-starred fine dining and a big, immigrant-cooked church potluck, and I’ll choose the potluck nine times out of ten. That’s probably why I love the \u003ca href=\"https://www.oaklandgreekfestival.com/\">Oakland Greek Festival\u003c/a>, the Greek Orthodox Cathedral of the Ascension’s flagship event: It’s essentially the biggest, liveliest church potluck you can imagine — an expression of the Bay Area’s multigenerational Greek community that’s infused with so much joy and down-to-earth hospitality. Not to mention the irresistible aroma of skewered meats and roast lamb you can smell from several blocks away.\u003c/p>\n\u003cp>The Oakland cathedral will host this year’s three-day lamb-stravaganza on May 17–19, but the festival’s history goes back more than 50 years.\u003c/p>\n\u003cp>Frosene Phillips, a spokesperson for the Oakland Greek Festival, remembers attending as a dancer when the event first started in the early ’70s. Back then, Phillips recalls, the festival was held at the old Oakland Civic Auditorium, near Lake Merritt. When the event debuted the first week of May in 1972, they called it the “Greek Week” — seven full days of music, folk dancing, food and wine, all in celebration of the church’s 50th anniversary in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13957639\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg\" alt=\"Lamb skewers on the grill.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lamb skewers ready to come off the grill. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, the festival moved to the Cathedral of the Ascension’s own church grounds in the Oakland hills, where the event carried on year after year. They’ve only skipped it three times: once when the auditorium was under renovation, and then of course the first two years of the COVID shutdown, when all big public gatherings went on pause.\u003c/p>\n\u003cp>One of the first Greek food and culture festivals of its kind in the U.S., it became a model — the “mothership,” as Phillips puts it — for other similar church-affiliated Greek “bazaars” that sprung up around the Bay Area and beyond. As Phillips recalls, “Even Greek parishes from the East Coast would send people out to see what was going on in Oakland.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For parishioners here in the East Bay, it was a whole lot of work and preparation, starting months in advance.\u003c/p>\n\u003cfigure id=\"attachment_13957632\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg\" alt=\"Black and white photo of elderly women in aprons preparing trays of Greek moussaka.\" width=\"1920\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1536x1062.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Church volunteers prepare trays of moussaka for an early 1980s edition of the festival. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I call it Greek hospitality on a grand scale,” Phillips says.\u003c/p>\n\u003cp>These days, as the proverbial baton has been passed from one generation to the next, Phillips says the biggest challenge is just finding enough volunteers from the parish to put together such a massive, well-attended event, especially from a food standpoint. Still, even after all these years, the vast majority of the food sold at the festival is prepared by church volunteers — only a handful of items have been outsourced, Phillips says.\u003c/p>\n\u003cp>Historically, the signature item was roast lamb — a whole lamb grilled on a spit for each day of the festival. Visitors would buy a ticket as soon as they arrived, and when the lamb had finished cooking, they’d line up to receive a plate piled high with meat, rice, vegetables and all the fixins.\u003c/p>\n\u003cfigure id=\"attachment_13957635\" class=\"wp-caption alignnone\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg\" alt=\"A smiling young boy holds a pair of metal tongs as he tends to lamb kebabs cooking on the grill.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1368x2048.jpg 1368w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Each year’s festival is a team effort, with church parishioners of all ages pitching in. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13915306,arts_13955522']\u003c/span>\u003c/span>The whole lamb has been put on hold since the pandemic, but the festival still offers a multitude of grilled meat options: gyros, skewered kebabs and the sausages known as loukaniko. And of course there will still be juicy, thinly sliced leg of lamb, served as an open-face sandwich with au jus drizzled on top. Separate booths will sell grilled lamb chops and lamb shanks.\u003c/p>\n\u003cp>In total, the food options are almost too many to enumerate. The squares of flaming cheese known as saganaki. The hearty, lasagna-like pastitsio. The many different types of phyllo-based pastries, including bougatsa, a flaky, custard-filled sweet pastry that will be offered for the first time this year. In fact, there will be a whole room dedicated to desserts, including loukoumades, the honey-drenched doughnut holes that draw the longest line at every Greek food event I’ve ever attended.\u003c/p>\n\u003cfigure id=\"attachment_13957637\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg\" alt=\"Two cooks shout out in excitement and trepidation as a grill topped with squares of cheese bursts into flame. \" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flaming cheese known as saganaki is always a spectacle, in addition to being a treat to eat. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13957638\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg\" alt=\"A pile of freshly fried doughnut holes.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A fresh batch of loukoumades. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plenty of non-Greek, non-Orthodox folks attend the festival solely on the basis of how great the food is, but that certainly isn’t the only reason to attend. There’s also live music, folk dancing and other cultural performances to keep the good vibes flowing.\u003c/p>\n\u003cp>And if you’ve never visited the Cathedral of the Ascension, up in the hills? On a clear day, you’ll enjoy one of the most exquisite views of the San Francisco Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/\">\u003ci>Oakland Greek Festival\u003c/i>\u003c/a>\u003ci> will take place on Friday, (4–10 p.m.), Saturday (11 a.m.–10 p.m.) and Sunday (11 a.m.–9 p.m.), May 17–19, at the Greek Orthodox Cathedral of Ascension in Oakland (4700 Lincoln Ave.). \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/?pgid=jx02htlz-809dd8e6-82d4-405a-8d12-5a5365dffdc6\">\u003ci>Tickets are $5\u003c/i>\u003c/a>\u003ci> (with discounts for multiple-day passes, and children under 12 are free). There are several options for \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/about-3\">\u003ci>free and paid parking\u003c/i>\u003c/a>\u003ci> within walking distance of the cathedral.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"It’s time to feast on gyros, lamb sandwiches, phyllo and loukoumades.","status":"publish","parent":0,"modified":1715381728,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":926},"headData":{"title":"The Oakland Greek Festival Is the Ultimate Church Potluck | KQED","description":"It’s time to feast on gyros, lamb sandwiches, phyllo and loukoumades.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Oakland Greek Festival Is the Ultimate Church Potluck","datePublished":"2024-05-10T20:08:15.000Z","dateModified":"2024-05-10T22:55:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13957626","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957626/oakland-greek-festival-lamb-gyro-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Give me a choice between Michelin-starred fine dining and a big, immigrant-cooked church potluck, and I’ll choose the potluck nine times out of ten. That’s probably why I love the \u003ca href=\"https://www.oaklandgreekfestival.com/\">Oakland Greek Festival\u003c/a>, the Greek Orthodox Cathedral of the Ascension’s flagship event: It’s essentially the biggest, liveliest church potluck you can imagine — an expression of the Bay Area’s multigenerational Greek community that’s infused with so much joy and down-to-earth hospitality. Not to mention the irresistible aroma of skewered meats and roast lamb you can smell from several blocks away.\u003c/p>\n\u003cp>The Oakland cathedral will host this year’s three-day lamb-stravaganza on May 17–19, but the festival’s history goes back more than 50 years.\u003c/p>\n\u003cp>Frosene Phillips, a spokesperson for the Oakland Greek Festival, remembers attending as a dancer when the event first started in the early ’70s. Back then, Phillips recalls, the festival was held at the old Oakland Civic Auditorium, near Lake Merritt. When the event debuted the first week of May in 1972, they called it the “Greek Week” — seven full days of music, folk dancing, food and wine, all in celebration of the church’s 50th anniversary in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13957639\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg\" alt=\"Lamb skewers on the grill.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lamb skewers ready to come off the grill. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, the festival moved to the Cathedral of the Ascension’s own church grounds in the Oakland hills, where the event carried on year after year. They’ve only skipped it three times: once when the auditorium was under renovation, and then of course the first two years of the COVID shutdown, when all big public gatherings went on pause.\u003c/p>\n\u003cp>One of the first Greek food and culture festivals of its kind in the U.S., it became a model — the “mothership,” as Phillips puts it — for other similar church-affiliated Greek “bazaars” that sprung up around the Bay Area and beyond. As Phillips recalls, “Even Greek parishes from the East Coast would send people out to see what was going on in Oakland.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For parishioners here in the East Bay, it was a whole lot of work and preparation, starting months in advance.\u003c/p>\n\u003cfigure id=\"attachment_13957632\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg\" alt=\"Black and white photo of elderly women in aprons preparing trays of Greek moussaka.\" width=\"1920\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1536x1062.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Church volunteers prepare trays of moussaka for an early 1980s edition of the festival. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I call it Greek hospitality on a grand scale,” Phillips says.\u003c/p>\n\u003cp>These days, as the proverbial baton has been passed from one generation to the next, Phillips says the biggest challenge is just finding enough volunteers from the parish to put together such a massive, well-attended event, especially from a food standpoint. Still, even after all these years, the vast majority of the food sold at the festival is prepared by church volunteers — only a handful of items have been outsourced, Phillips says.\u003c/p>\n\u003cp>Historically, the signature item was roast lamb — a whole lamb grilled on a spit for each day of the festival. Visitors would buy a ticket as soon as they arrived, and when the lamb had finished cooking, they’d line up to receive a plate piled high with meat, rice, vegetables and all the fixins.\u003c/p>\n\u003cfigure id=\"attachment_13957635\" class=\"wp-caption alignnone\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg\" alt=\"A smiling young boy holds a pair of metal tongs as he tends to lamb kebabs cooking on the grill.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1368x2048.jpg 1368w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Each year’s festival is a team effort, with church parishioners of all ages pitching in. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13915306,arts_13955522","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>The whole lamb has been put on hold since the pandemic, but the festival still offers a multitude of grilled meat options: gyros, skewered kebabs and the sausages known as loukaniko. And of course there will still be juicy, thinly sliced leg of lamb, served as an open-face sandwich with au jus drizzled on top. Separate booths will sell grilled lamb chops and lamb shanks.\u003c/p>\n\u003cp>In total, the food options are almost too many to enumerate. The squares of flaming cheese known as saganaki. The hearty, lasagna-like pastitsio. The many different types of phyllo-based pastries, including bougatsa, a flaky, custard-filled sweet pastry that will be offered for the first time this year. In fact, there will be a whole room dedicated to desserts, including loukoumades, the honey-drenched doughnut holes that draw the longest line at every Greek food event I’ve ever attended.\u003c/p>\n\u003cfigure id=\"attachment_13957637\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg\" alt=\"Two cooks shout out in excitement and trepidation as a grill topped with squares of cheese bursts into flame. \" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flaming cheese known as saganaki is always a spectacle, in addition to being a treat to eat. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13957638\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg\" alt=\"A pile of freshly fried doughnut holes.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A fresh batch of loukoumades. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plenty of non-Greek, non-Orthodox folks attend the festival solely on the basis of how great the food is, but that certainly isn’t the only reason to attend. There’s also live music, folk dancing and other cultural performances to keep the good vibes flowing.\u003c/p>\n\u003cp>And if you’ve never visited the Cathedral of the Ascension, up in the hills? On a clear day, you’ll enjoy one of the most exquisite views of the San Francisco Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/\">\u003ci>Oakland Greek Festival\u003c/i>\u003c/a>\u003ci> will take place on Friday, (4–10 p.m.), Saturday (11 a.m.–10 p.m.) and Sunday (11 a.m.–9 p.m.), May 17–19, at the Greek Orthodox Cathedral of Ascension in Oakland (4700 Lincoln Ave.). \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/?pgid=jx02htlz-809dd8e6-82d4-405a-8d12-5a5365dffdc6\">\u003ci>Tickets are $5\u003c/i>\u003c/a>\u003ci> (with discounts for multiple-day passes, and children under 12 are free). There are several options for \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/about-3\">\u003ci>free and paid parking\u003c/i>\u003c/a>\u003ci> within walking distance of the cathedral.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957626/oakland-greek-festival-lamb-gyro-2024","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_22068","arts_1297","arts_1143","arts_585"],"featImg":"arts_13957628","label":"source_arts_13957626"},"arts_13957388":{"type":"posts","id":"arts_13957388","meta":{"index":"posts_1591205157","site":"arts","id":"13957388","found":true},"guestAuthors":[],"slug":"ellis-creamery-tracy-gas-station-filipino-dessert-moving","title":"Tracy's Popular Gas-Station Filipino Dessert Shop Is Moving","publishDate":1715193758,"format":"standard","headTitle":"Tracy’s Popular Gas-Station Filipino Dessert Shop Is Moving | KQED","labelTerm":{},"content":"\u003cp>When \u003ca href=\"https://www.instagram.com/ellis.creamery/?hl=en\">Ellis Creamery\u003c/a> first opened in 2021, the \u003ca href=\"https://www.kqed.org/arts/13919707/ellis-creamery-filipino-ice-cream-bakery-halo-halo-gas-station-tracy\">Filipino dessert shop formerly hidden at the back of a Tracy gas station\u003c/a> didn’t necessarily expect to become a Bay Area internet sensation.\u003c/p>\n\u003cp>After all, the shop had modest beginnings: Filipina immigrant Marie Rabut juggled a full-time job in healthcare while baking and selling traditional island desserts from her home during the pandemic. One year later, her husband Khristian left his role as a consultant and bought a pre-existing dessert shop inside a local gas station to give Marie’s baked goods an unlikely brick-and-mortar outlet. They kept the shop’s name, Ellis Creamery, and went on to achieve viral fandom.\u003c/p>\n\u003cp>Customers have driven from all over Northern California to taste the couple’s \u003ca href=\"https://www.instagram.com/p/C2gHZHsPczv/?hl=en\">delicious, homestyle Pinoy treats\u003c/a>: heavenly ice cream scoops of Oreo-infused Ube Cookies and Cream; halo-halo topped with crushed meringue; buttercream silvanas; gargantuan ensaymadas and more. On its busiest days, the lines inside National Petroleum’s convenience shop would wrap around from the back counter through the front door.\u003c/p>\n\u003cp>Now, though, Ellis Creamery’s fairytale popularity inside a suburban gas station is entering a new chapter — and a new location.\u003c/p>\n\u003cfigure id=\"attachment_13957468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An ube pistachio cake at Ellis Creamery. \u003ccite>(Courtesy Khristian Rabut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In late February 2024, the gas station’s owner informed the Rabuts that a cannabis dispensary was moving in. It meant Ellis Creamery would either have to significantly downsize their operations to make room, or else find a new location. The Filipino dessert makers reasoned that it would be better to find a new location rather than squeeze themselves further into the back corner of an already crowded space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dispensary business is big money and we’re a small fry,” Khristian Rabut says. “They offered us to stay with a smaller counter, but I didn’t think that would work.”\u003c/p>\n\u003cp>As part of their month-to-month agreement, Ellis Creamery agreed to vacate the gas station in the first week of March.\u003c/p>\n\u003cp>Later this summer, Marie and Khristian plan to reopen inside a Tracy storefront that formerly housed a taco shop. Though the 10-year lease for the new location is significantly more expensive, the couple plans to utilize their new digs in a way that the small gas station’s back kitchen — a former Subway — didn’t allow.\u003c/p>\n\u003cfigure id=\"attachment_13957467\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957467\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Long lines were a common sight at Ellis Creamery’s gas station location. \u003ccite>(Courtesy Khristian Rabut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re thinking of adding a popular coffee bread from the Philippines [kopi roti] and traditional rice cakes,” Khristian says. “We also can serve cakes every day; we can have slices of cakes to eat with coffee, lemonade, fruit teas. Our plan is to have limited seating with a place for [patrons] to enjoy the food.”\u003c/p>\n\u003cp>Khristian also rattles off ideas about shortbreads, lengua de gato (Filipino butter cookies) and uraro (cookies made from arrowroot flour). Such breakfast treats and beverages weren’t previously on offer inside the gas station due to limited space and lack of proper appliances, he tells me. They also never had seating available — until now. Though somewhat forced into the business expansion, the Rabuts are excited for the opportunity to continue serving the community and provide the area’s only full-blown Filipino cafe.\u003c/p>\n\u003cp>“We’re thankful for our staff and customers,” Marie says. “They have been very supportive, and are waiting for us [to open the new location].”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In order to make ends meet, the humble dessert makers have launched a crowdfunding campaign (which includes sweet treats in exchange for those who are able to contribute), while previous plans of expanding to San Jose have been put on pause for the time being. In the meantime, fans of Ellis Creamery can find their limited offerings at various outlets in Tracy — including \u003ca href=\"https://www.instagram.com/tracyharbourfishandchips/?hl=en\">Tracy Harbour Fish and Chips\u003c/a>, \u003ca href=\"https://www.hawaiianbarbecue.com/locations/tracy/\">L&L Hawaiian Barbecue\u003c/a> and \u003ca href=\"https://www.drinkbambu.com/properties/tracy\">Bambu Dessert Drinks \u003c/a>— as well as \u003ca href=\"https://www.instagram.com/groundstackcoffee/\">Groundstack Coffee\u003c/a> in Stockton.\u003c/p>\n\n","blocks":[],"excerpt":"Ellis Creamery will move into a former taqueria in Tracy, leaving its humble gas station location on I-205.","status":"publish","parent":0,"modified":1715462626,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":687},"headData":{"title":"Tracy's Popular Gas-Station Filipino Dessert Shop Is Moving | KQED","description":"Ellis Creamery will move into a former taqueria in Tracy, leaving its humble gas station location on I-205.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tracy's Popular Gas-Station Filipino Dessert Shop Is Moving","datePublished":"2024-05-08T18:42:38.000Z","dateModified":"2024-05-11T21:23:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"WpOldSlug":"tracys-popular-gas-station-filipino-dessert-shop-is-moving","nprStoryId":"kqed-13957388","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957388/ellis-creamery-tracy-gas-station-filipino-dessert-moving","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.instagram.com/ellis.creamery/?hl=en\">Ellis Creamery\u003c/a> first opened in 2021, the \u003ca href=\"https://www.kqed.org/arts/13919707/ellis-creamery-filipino-ice-cream-bakery-halo-halo-gas-station-tracy\">Filipino dessert shop formerly hidden at the back of a Tracy gas station\u003c/a> didn’t necessarily expect to become a Bay Area internet sensation.\u003c/p>\n\u003cp>After all, the shop had modest beginnings: Filipina immigrant Marie Rabut juggled a full-time job in healthcare while baking and selling traditional island desserts from her home during the pandemic. One year later, her husband Khristian left his role as a consultant and bought a pre-existing dessert shop inside a local gas station to give Marie’s baked goods an unlikely brick-and-mortar outlet. They kept the shop’s name, Ellis Creamery, and went on to achieve viral fandom.\u003c/p>\n\u003cp>Customers have driven from all over Northern California to taste the couple’s \u003ca href=\"https://www.instagram.com/p/C2gHZHsPczv/?hl=en\">delicious, homestyle Pinoy treats\u003c/a>: heavenly ice cream scoops of Oreo-infused Ube Cookies and Cream; halo-halo topped with crushed meringue; buttercream silvanas; gargantuan ensaymadas and more. On its busiest days, the lines inside National Petroleum’s convenience shop would wrap around from the back counter through the front door.\u003c/p>\n\u003cp>Now, though, Ellis Creamery’s fairytale popularity inside a suburban gas station is entering a new chapter — and a new location.\u003c/p>\n\u003cfigure id=\"attachment_13957468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20230913_090939-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An ube pistachio cake at Ellis Creamery. \u003ccite>(Courtesy Khristian Rabut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In late February 2024, the gas station’s owner informed the Rabuts that a cannabis dispensary was moving in. It meant Ellis Creamery would either have to significantly downsize their operations to make room, or else find a new location. The Filipino dessert makers reasoned that it would be better to find a new location rather than squeeze themselves further into the back corner of an already crowded space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dispensary business is big money and we’re a small fry,” Khristian Rabut says. “They offered us to stay with a smaller counter, but I didn’t think that would work.”\u003c/p>\n\u003cp>As part of their month-to-month agreement, Ellis Creamery agreed to vacate the gas station in the first week of March.\u003c/p>\n\u003cp>Later this summer, Marie and Khristian plan to reopen inside a Tracy storefront that formerly housed a taco shop. Though the 10-year lease for the new location is significantly more expensive, the couple plans to utilize their new digs in a way that the small gas station’s back kitchen — a former Subway — didn’t allow.\u003c/p>\n\u003cfigure id=\"attachment_13957467\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957467\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/whatsapp_image_2024-04-08_at_23.25.06_b24ec1e3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Long lines were a common sight at Ellis Creamery’s gas station location. \u003ccite>(Courtesy Khristian Rabut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re thinking of adding a popular coffee bread from the Philippines [kopi roti] and traditional rice cakes,” Khristian says. “We also can serve cakes every day; we can have slices of cakes to eat with coffee, lemonade, fruit teas. Our plan is to have limited seating with a place for [patrons] to enjoy the food.”\u003c/p>\n\u003cp>Khristian also rattles off ideas about shortbreads, lengua de gato (Filipino butter cookies) and uraro (cookies made from arrowroot flour). Such breakfast treats and beverages weren’t previously on offer inside the gas station due to limited space and lack of proper appliances, he tells me. They also never had seating available — until now. Though somewhat forced into the business expansion, the Rabuts are excited for the opportunity to continue serving the community and provide the area’s only full-blown Filipino cafe.\u003c/p>\n\u003cp>“We’re thankful for our staff and customers,” Marie says. “They have been very supportive, and are waiting for us [to open the new location].”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In order to make ends meet, the humble dessert makers have launched a crowdfunding campaign (which includes sweet treats in exchange for those who are able to contribute), while previous plans of expanding to San Jose have been put on pause for the time being. In the meantime, fans of Ellis Creamery can find their limited offerings at various outlets in Tracy — including \u003ca href=\"https://www.instagram.com/tracyharbourfishandchips/?hl=en\">Tracy Harbour Fish and Chips\u003c/a>, \u003ca href=\"https://www.hawaiianbarbecue.com/locations/tracy/\">L&L Hawaiian Barbecue\u003c/a> and \u003ca href=\"https://www.drinkbambu.com/properties/tracy\">Bambu Dessert Drinks \u003c/a>— as well as \u003ca href=\"https://www.instagram.com/groundstackcoffee/\">Groundstack Coffee\u003c/a> in Stockton.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957388/ellis-creamery-tracy-gas-station-filipino-dessert-moving","authors":["11748"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_2855","arts_14183","arts_1176","arts_14798","arts_22141"],"featImg":"arts_13957469","label":"source_arts_13957388"},"arts_13957645":{"type":"posts","id":"arts_13957645","meta":{"index":"posts_1591205157","site":"arts","id":"13957645","found":true},"guestAuthors":[],"slug":"100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","title":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco","publishDate":1715374658,"format":"aside","headTitle":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13957614\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png\" alt=\"A computer rendering of a 17-story building, on a street with people and cars.\" width=\"2160\" height=\"2160\" class=\"size-full wp-image-13957614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>[aside postID='news_11973656']Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>[aside postID='arts_13910898']It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n","blocks":[],"excerpt":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","status":"publish","parent":0,"modified":1715374658,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":688},"headData":{"title":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco | KQED","description":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco","datePublished":"2024-05-10T20:57:38.000Z","dateModified":"2024-05-10T20:57:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957645","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957614\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png\" alt=\"A computer rendering of a 17-story building, on a street with people and cars.\" width=\"2160\" height=\"2160\" class=\"size-full wp-image-13957614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11973656","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910898","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","authors":["185"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_4544","arts_163","arts_2216","arts_2048"],"featImg":"arts_13957653","label":"arts"},"arts_13957193":{"type":"posts","id":"arts_13957193","meta":{"index":"posts_1591205157","site":"arts","id":"13957193","found":true},"guestAuthors":[],"slug":"510-day-oakland-anti-gentrification-rally-concert","title":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","publishDate":1714759368,"format":"standard","headTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For the past nine years on May 10, Oaklanders born and raised in the Town have been celebrating 510 Day with the rallying cry of “We Still Here.” Part party, part protest, 510 Day brings together artists and activists to uplift local culture and strategize about strengthening Black, brown and working class communities in the face of gentrification.\u003c/p>\n\u003cp>Hosted by rapper, poet, thespian (and co-host of the \u003ca href=\"https://www.kqed.org/arts/tag/whats-pimpin\">KQED-produced vodcast \u003cem>What’s Pimpin’?\u003c/em>\u003c/a>) RyanNicole and \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">community advocate\u003c/a> Kenzie Smith, festivities kick off at 1 p.m. at Lake Merritt with an artist vendor marketplace on Lakeshore and Grand Avenues. DJ Infinxte Soul will spin to get the vibe right; at 3:30 p.m., young people are invited to make their voices heard in a youth rally and march that takes off on Lakeshore, across from the Cleveland Cascade stairs. At 4 p.m., unhoused Oaklanders will take the mic and share their experiences. [aside postid='arts_13918908']\u003c/p>\n\u003cp>Starting promptly at 5:10 p.m. at the pillars of the Pergola, the evening will continue on the We Still Here main stage with performances from \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">Oakland Poet Laureate Ayodele Nzinga\u003c/a>, hip-hop artists Raw G, Champ Green and Loove Moore, youth org 67 Sueños and others. A second Black Market Stage will feature additional performances from Felonious Music Group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950643/mistah-fab-week-oakland-2024\">Mistah F.A.B.\u003c/a>’s Dope Era Whips car club will post up across from the We Still Here stage. Performances continue until 8 p.m. Afterwards, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black, the Bay’s “mother of DJs,”\u003c/a> will close out the evening with a \u003ca href=\"https://www.kqed.org/arts/13934148/days-like-this-oakland-lake-merritt-house-music-dance-party\">Days Like This dance party\u003c/a>, in homage to the free dance music gathering at the lake.\u003c/p>\n\u003cp>510 Day is sponsored by The Village, a grassroots organization supporting unhoused people; Communities United for Restorative Justice and Young Women’s Freedom Center (which both fight mass incarceration and support system-impacted youth); and other community groups.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>510 Day is free to attend on May 10, 1–10 p.m. For the full schedule and updates, check the \u003ca href=\"https://www.instagram.com/510day/\">@510Day Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The May 10 event at Lake Merritt celebrates local culture in the face of gentrification. ","status":"publish","parent":0,"modified":1714774798,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":351},"headData":{"title":"With Free 510 Day Celebrations, Oaklanders Say ‘We Still Here’ | KQED","description":"The May 10 event at Lake Merritt celebrates local culture in the face of gentrification. ","ogTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","ogDescription":"","ogImgId":"","twTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","twDescription":"","twImgId":"","socialTitle":"With Free 510 Day Celebrations, Oaklanders Say ‘We Still Here’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","datePublished":"2024-05-03T18:02:48.000Z","dateModified":"2024-05-03T22:19:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957193","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957193/510-day-oakland-anti-gentrification-rally-concert","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past nine years on May 10, Oaklanders born and raised in the Town have been celebrating 510 Day with the rallying cry of “We Still Here.” Part party, part protest, 510 Day brings together artists and activists to uplift local culture and strategize about strengthening Black, brown and working class communities in the face of gentrification.\u003c/p>\n\u003cp>Hosted by rapper, poet, thespian (and co-host of the \u003ca href=\"https://www.kqed.org/arts/tag/whats-pimpin\">KQED-produced vodcast \u003cem>What’s Pimpin’?\u003c/em>\u003c/a>) RyanNicole and \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">community advocate\u003c/a> Kenzie Smith, festivities kick off at 1 p.m. at Lake Merritt with an artist vendor marketplace on Lakeshore and Grand Avenues. DJ Infinxte Soul will spin to get the vibe right; at 3:30 p.m., young people are invited to make their voices heard in a youth rally and march that takes off on Lakeshore, across from the Cleveland Cascade stairs. At 4 p.m., unhoused Oaklanders will take the mic and share their experiences. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starting promptly at 5:10 p.m. at the pillars of the Pergola, the evening will continue on the We Still Here main stage with performances from \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">Oakland Poet Laureate Ayodele Nzinga\u003c/a>, hip-hop artists Raw G, Champ Green and Loove Moore, youth org 67 Sueños and others. A second Black Market Stage will feature additional performances from Felonious Music Group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950643/mistah-fab-week-oakland-2024\">Mistah F.A.B.\u003c/a>’s Dope Era Whips car club will post up across from the We Still Here stage. Performances continue until 8 p.m. Afterwards, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black, the Bay’s “mother of DJs,”\u003c/a> will close out the evening with a \u003ca href=\"https://www.kqed.org/arts/13934148/days-like-this-oakland-lake-merritt-house-music-dance-party\">Days Like This dance party\u003c/a>, in homage to the free dance music gathering at the lake.\u003c/p>\n\u003cp>510 Day is sponsored by The Village, a grassroots organization supporting unhoused people; Communities United for Restorative Justice and Young Women’s Freedom Center (which both fight mass incarceration and support system-impacted youth); and other community groups.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>510 Day is free to attend on May 10, 1–10 p.m. For the full schedule and updates, check the \u003ca href=\"https://www.instagram.com/510day/\">@510Day Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957193/510-day-oakland-anti-gentrification-rally-concert","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_7624","arts_10278","arts_1332","arts_1143","arts_585"],"featImg":"arts_13876766","label":"arts_140"},"arts_13957350":{"type":"posts","id":"arts_13957350","meta":{"index":"posts_1591205157","site":"arts","id":"13957350","found":true},"guestAuthors":[],"slug":"san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art","title":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","publishDate":1715101966,"format":"standard","headTitle":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In mid-April, young designers at three San Francisco schools were busy ripping out seams, running their purring sewing machines and organizing their models. They were in the final weeks before the city’s unofficial fashion week (May 9–16), and it was crunch time at San Francisco State University, California College of the Arts and Academy of Art University.\u003c/p>\n\u003cp>Andre Aberin, 23, was hunched over a pair of two-toned workwear pants in a room lined with half-clothed mannequins at SFSU on a Wednesday night. “My collection is based upon my love for video games and everything science fiction and also utilitarian wear,” he said.\u003c/p>\n\u003cp>Elsewhere in San Francisco, Pamela Alcala, 22, was sorting through a rack of colorful crocheted wool garments at CCA. “My collection is a menswear take on my grandmother,” she said. “It’s about the appreciation for hand-crafting and playfulness and oversized garments.”\u003c/p>\n\u003cp>At Academy of Art, Haydee Quesedo was fitting her model into a flamenco-inspired ruffled denim skirt as other designers and instructors bustled around the studio with sewing needles between their lips. While most of her fellow designers have five or six looks, Quesedo is aiming for 12.\u003c/p>\n\u003cp>“I work here in the studio from 8 a.m. to 8 p.m., eat, sleep and come back,” she laughed. Quesado’s flamenco denim is just one of the looks that will debut on three different runways from fashion students at CCA, SFSU and Academy of Art University, which have a mixture of undergraduate and graduate design programs showcasing their work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Designers like Academy of Art student Jagmehak have been at their studios all day, every day for weeks now. On a recent Thursday afternoon, Jagmehak was sorting through folds of deep fuchsia silk that she’d sourced from India and custom dyed to her desired hue.\u003c/p>\n\u003cp>The runway shows mark the culmination of the designers’ studies and offer audiences (and fashion lovers) a glimpse at what the next generation has in store for our closets. Based on their mood boards and mannequins, we can expect playful color combos, deconstructed menswear and immaculate craftsmanship.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The San Francisco State University fashion show, PULSE Runway 2024, takes place May 9, 6–8:30 p.m. at 1 N State Dr., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/pulse-runway-2024-tickets-859110732327\">SFSU event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The California College of the Arts fashion show takes place May 10, 2024, 5–8 p.m. at 1111 8th St., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/spring-2024-architecture-and-design-end-of-year-thesis-show-tickets-873511114257?aff=oddtdtcreator\">CCA event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Academy of Art University fashion show takes place May 16, 2025 at 3 p.m. at 1849 Washington St., San Francisco. Find tickets to the \u003ca href=\"https://www.academyart.edu/2024-graduation-fashion-show-event/\">Academy of Art event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stay tuned for reviews of the three runway shows as a part of \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">Fit Check\u003c/a>, a series about style and personal expression in the Bay Area.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Designers from three San Francisco fashion programs will debut dozens of new collections May 9–16.","status":"publish","parent":0,"modified":1715108350,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":491},"headData":{"title":"An Unofficial Fashion Week Hits the Runway at SF Colleges | KQED","description":"Designers from three San Francisco fashion programs will debut dozens of new collections May 9–16.","ogTitle":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","ogDescription":"","ogImgId":"","twTitle":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","twDescription":"","twImgId":"","socialTitle":"An Unofficial Fashion Week Hits the Runway at SF Colleges %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","datePublished":"2024-05-07T17:12:46.000Z","dateModified":"2024-05-07T18:59:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957350","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In mid-April, young designers at three San Francisco schools were busy ripping out seams, running their purring sewing machines and organizing their models. They were in the final weeks before the city’s unofficial fashion week (May 9–16), and it was crunch time at San Francisco State University, California College of the Arts and Academy of Art University.\u003c/p>\n\u003cp>Andre Aberin, 23, was hunched over a pair of two-toned workwear pants in a room lined with half-clothed mannequins at SFSU on a Wednesday night. “My collection is based upon my love for video games and everything science fiction and also utilitarian wear,” he said.\u003c/p>\n\u003cp>Elsewhere in San Francisco, Pamela Alcala, 22, was sorting through a rack of colorful crocheted wool garments at CCA. “My collection is a menswear take on my grandmother,” she said. “It’s about the appreciation for hand-crafting and playfulness and oversized garments.”\u003c/p>\n\u003cp>At Academy of Art, Haydee Quesedo was fitting her model into a flamenco-inspired ruffled denim skirt as other designers and instructors bustled around the studio with sewing needles between their lips. While most of her fellow designers have five or six looks, Quesedo is aiming for 12.\u003c/p>\n\u003cp>“I work here in the studio from 8 a.m. to 8 p.m., eat, sleep and come back,” she laughed. Quesado’s flamenco denim is just one of the looks that will debut on three different runways from fashion students at CCA, SFSU and Academy of Art University, which have a mixture of undergraduate and graduate design programs showcasing their work. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Designers like Academy of Art student Jagmehak have been at their studios all day, every day for weeks now. On a recent Thursday afternoon, Jagmehak was sorting through folds of deep fuchsia silk that she’d sourced from India and custom dyed to her desired hue.\u003c/p>\n\u003cp>The runway shows mark the culmination of the designers’ studies and offer audiences (and fashion lovers) a glimpse at what the next generation has in store for our closets. Based on their mood boards and mannequins, we can expect playful color combos, deconstructed menswear and immaculate craftsmanship.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The San Francisco State University fashion show, PULSE Runway 2024, takes place May 9, 6–8:30 p.m. at 1 N State Dr., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/pulse-runway-2024-tickets-859110732327\">SFSU event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The California College of the Arts fashion show takes place May 10, 2024, 5–8 p.m. at 1111 8th St., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/spring-2024-architecture-and-design-end-of-year-thesis-show-tickets-873511114257?aff=oddtdtcreator\">CCA event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Academy of Art University fashion show takes place May 16, 2025 at 3 p.m. at 1849 Washington St., San Francisco. Find tickets to the \u003ca href=\"https://www.academyart.edu/2024-graduation-fashion-show-event/\">Academy of Art event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stay tuned for reviews of the three runway shows as a part of \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">Fit Check\u003c/a>, a series about style and personal expression in the Bay Area.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_76"],"tags":["arts_1696","arts_10278","arts_21953","arts_585"],"featImg":"arts_13957356","label":"arts_140"},"arts_13955613":{"type":"posts","id":"arts_13955613","meta":{"index":"posts_1591205157","site":"arts","id":"13955613","found":true},"guestAuthors":[],"slug":"pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit","title":"Pro-Palestinian Jewish Artists Withdraw from Contemporary Jewish Museum Exhibit","publishDate":1712622682,"format":"audio","headTitle":"Pro-Palestinian Jewish Artists Withdraw from Contemporary Jewish Museum Exhibit | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. [aside postid='arts_13952460,arts_13954119']\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The selected artists then sent museum leadership a list of demands that included a call to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\n","blocks":[],"excerpt":"The artists called for the museum to join the Palestinian Academic and Cultural Boycott of Israel, which leadership refused. ","status":"publish","parent":0,"modified":1713557381,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1215},"headData":{"title":"Pro-Palestinian Artists Pull Out of Contemporary Jewish Museum | KQED","description":"The artists called for the museum to join the Palestinian Academic and Cultural Boycott of Israel, which leadership refused. ","ogTitle":"Pro-Palestinian Jewish Artists Withdraw from Contemporary Jewish Museum Exhibit","ogDescription":"","ogImgId":"","twTitle":"Pro-Palestinian Jewish Artists Pull Out of Contemporary Jewish Museum","twDescription":"","twImgId":"","socialTitle":"Pro-Palestinian Artists Pull Out of Contemporary Jewish Museum %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pro-Palestinian Jewish Artists Withdraw from Contemporary Jewish Museum Exhibit","datePublished":"2024-04-09T00:31:22.000Z","dateModified":"2024-04-19T20:09:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"authorsData":[{"type":"authors","id":"11387","meta":{"index":"authors_1591205172","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}],"imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.-Krivoy-Kolektiv-1020x334.jpeg","width":1020,"height":334,"mimeType":"image/jpeg"},"ogImageWidth":"1020","ogImageHeight":"334","twitterImageUrl":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.-Krivoy-Kolektiv-1020x334.jpeg","twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.-Krivoy-Kolektiv-1020x334.jpeg","width":1020,"height":334,"mimeType":"image/jpeg"},"twitterCard":"summary_large_image"},"tagData":{"tags":["Contemporary Jewish Museum","editorspick","featured-arts","gaza","San Francisco"]}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/e7ab8198-9bf5-4e33-a279-b15301022e24/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952460,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The selected artists then sent museum leadership a list of demands that included a call to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_1787","arts_10342","arts_10278","arts_8838","arts_1146"],"featImg":"arts_13955612","label":"arts","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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