a police district in a period of time. if the idea of combining the different layerce of information and stacking them on top of each other to present to the public. >> other types of gis are web based mapping systems. like google earth, yahoo maps. microsoft. those are examples of on line mapping systems that can be used to find businesses or get driving directions or check on traffic conditions. all digital maps. >> gis is used in the city of san francisco to better support what departments do. >> you imagine all the various elements of a city including parcels and the critical infrastructure where the storm drains are. the city access like the traffic

lights and fire hydrants. anything you is represent in a geo graphic space with be stored for retrieval and analysis. >> the department of public works they maintain what goes on in the right-of-way, looking to dig up the streets to put in a pipe. with the permit. with mapping you click on the map, click on the street and up will come up the nchgz that will help them make a decision. currently available is sf parcel the assessor's application. you can go to the assessor's website and bring up a map of san francisco you can search by address and get information about any place in san

francisco. you can search by address and find incidents of crime in san francisco in the last 90 days. we have [inaudible] which allows you to click on a map and get nchldz like your supervisor or who your supervisor is. the nearest public facility. and through the sf applications we support from the mayor's office of neighborhood services. you can drill down in the neighborhood and get where the newest hospital or police or fire station. >> we are positive about gis not only people access it in the office but from home because we use the internet. what we used to do was carry the large maps and it took a long time to find the information. >> it saves the city time and

money. you are not taking up the time of a particular employee at the assessor's office. you might be doing things more efficient. >> they have it ready to go and say, this is what i want. >> they are finding the same things happening on the phone where people call in and ask, how do i find this information? we say, go to this website and they go and get the information easily. >> a picture tells a thousand stories. some say a map >> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today. thanks for inviting us in and

showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art

sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent?

>> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the

initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space,

to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various

animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth.

this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print shop. >> ok. the core of what we do is making

things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things. anyone who has told you paradise is a book of rules is -- has

only appeared through the windows. this is from all over coffee. we are contract printers for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team. >> welcome to "culture wire." on this episode, we explore what it means to the aged, in today's society -- what it means to be chicana in today's society.

chica chic features an array of artwork by five leading chicana artists that addresses a range of issues such as integration, sustainability, and integration. using a distinct visual approach, each of the artist's response to the shifting needs of their communities in ways that offer unique perspectives and multiple points of entry. >> the exhibition is to bring together the voices of a new generation chicana artists, all of whom reference the works of the civil-rights movement in their works, but they are also responding to a new cultural concerns and new cultural circumstances. >> the works in the show include a large canvas depicting a woman washing the beach with her hair at the u.s./mexican border. the painting encourages the viewer to engage with the current debates over immigration and the politics of women and

labor. influenced by the campaigns of the chicano civil rights movement, this oakland artist is a print maker whose work has helped and sustainability with the immigrant community as well as other current sociopolitical issues. this print-based work draws on appropriated agricultural worker manuals and high fashion labels to satirically address class issues, cultural identities, and consumerism. >> angelica -- her father was an agricultural worker, so she has drawn a lot from the materials the agricultural department sends to agricultural workers, referencing the depiction of farm workers and some of the information about pesticide application. >> mitzi combines a variety of

media, including embroidery, to create artifacts of mexican, chicano, pop culture. she greets immensely detailed drawings of celebrities on the same platform of her friends and families. her work combines elements of chicano portraiture and low writer art, rendered in upon new art style, or intricate drawings on handkerchiefs, also -- often associated with prison art. her portrait of three girls is among several of original posters by the exhibition artists, which are on view at various bart stations as part of a public campaign funded by the national endowment of the arts. from the outset, the curator felt it was important for the exhibition to have a public art components of the work could reach the widest possible audience. more than just a promotion, the posters connect the work of these powerful artists with new audiences, including the vital chicano and latino community. images can be found in bart

stations located in san for cisco and oakland. >> it is enormously exciting for me personally and for the institution. the poster with up right after new year's, and i remember very vividly -- i am a regular rider, and i went into the station and saw the first poster i had seen, it was incredibly exciting. it is satisfying to know that through the campaign, we are reaching a broader audience. >> for more information about >> many people are not aware of this building was built in 1936. as a board to preserve the history and make the students aware of that history. the partnering between sfmoma

and the arts commission means they will be more aware of the artwork that we have here, the artists that painted a, and the history behind this itself. >> students came from george washington, and it was wonderful to have them on a panel. people from the school board, those who have been painting for years, some conservative errors from the getty. to have them tell us about the works of their school was important. it represents african-american artists to during the 20's and 30's used an incredible body of work. it is one of the most incredible works of art in the city, bar none.

it is a huge mural of incredible works. >> the san francisco civic arts collection has been in existence since the turn of the century. it consists of everything from monument to golden gate park to market street, other works in the collection, from the wpa era, the quite tower, the works from the george washington high school. we have the contemporary education, where they depict some of the vocational arts that were taught at george washington high school. what is interesting is the artist's and corp. of some of the -- incorporation of some of the architectural elements. they used the speaker from the p a system as part of the design. on the opposite side of the library, we have a large fresco which depicts the academic subjects that were taught at the

time. it serves as a foil to the other fresco in the library, we have academic subjects on one side, vocational subjects on the other, and result is the concept of a well-rounded education. additionally, what we plan to do is the academy of hospitality and tourism will be part of, so the students can share with other students, faculty, the neighborhood, and others to come by and what to look to the artwork we have. >> by working with the students, we hope to raise awareness of the collection and foster stewardship. we brought diego rivera to the

city. i think the wpa art work is characterized by stylized robustness and a pervasive occupation with a historical. in this panel, we have a depiction of george washington moving west. what is interesting about it is the image of lewis and clark here is in black and white, something that is occurring in the future, painted as though it was in the past. what is interesting about it is the very obvious conclusion of slavery. the number of students were expressing unease around some of the themes. the additional mural would be placed in the school, one with more positive representation of the student body. in 1974, they completed three

panels that were placed in the library -- in the lobby. they depict native, latino, asian american, and african- american heritage and culture. >> that artist was talking about the history coming alive. that is what we want for the students here. i also think they might share that with past alumni and the community, so they could no the treasure that we have here in the schools. many people have the same experience i did when i first walked into this building three years ago, being the new principal. the grandeur of these murals is fantastic. many of the students who have come here have come here and are very proud of these murals. they're so happy that they're still here and are being preserved. >> to learn more about the civic

art collection, visit >> welcome to "culture wire." i'm here with james lee, and exhibiting artist, and we will have a chat today about the body of work you are presenting. after you left the military, what prompted you to go back to a place where the u.s. is engaged in military action? >> it is interesting. the population of afghanistan is around 29 million, and there's probably no more than 80,000 u.s. soldiers serving in afghanistan right now, but if

you look at the stories that come out, you think the numbers are completely reversed. all the stories are about americans, and you see almost no images of stories about the afghan people themselves, so if you look at the dominant representational paradigm uc today, it is all about foreign soldiers. my idea was to try incurred counted to that a popularized narrative and focus on images and stories that really reflect that lived experience of conflict through the eyes of the afghan people. >> you are exhibiting with three other photographers. it is true all three of them have really focused in the areas where a lot of u.s. and allied forces are seeing action, are actually involved in combat, so your story is different than theirs. what does it mean to show your body of work along side of the stories that probably are more familiar?

what kind of juxtaposition does that create for you as an artist? >> i think the strength of bringing the two different stories together is i think there is a real danger in focusing only on surface similarities between conflicts. when people look at a body of work and say that they see in this conflict photography, and it reminds them of somalia or iraq, i think that is dangerous because i think there are very unique elements to each conflict, and if you do not focus on the distinctions, you start to create a broader, watered-down topic, which is armed conflict, so i think it is important that when we focus on conflict, we make sure we do not just generalize, but we allow specific places and voices and people to be heard and we do not make these generalized assumptions about what conflict is like. >> the other photographers in the show, what is local, and the others are from new york and new delhi. what do you like about some of

their work? >> in a big fan of the fact that he approaches photography from a non-traditional point of view. he also cunner has a mixed view of cameras themselves. he calls them toys. >> he uses these cameras that one might assume our toys, but he also says all the toy cameras are cameras, so it does not really matter to him what he is using to take the images as long as he is getting the images he wants. and because they are taken with these film cameras, they have a very different feel than the other pictures in the show. one of the things i want to talk about is that lindsey's body of work is running down one side of the hall, and it is all about women in afghanistan and how they serve and their special interactions with civilian women and communities, which is the special role that women soldiers play in afghanistan.

across from eric copeland's work, which is extremely masculine and black and white and very aggressive -- what do you think about that juxtaposition between their two bodies of work? >> i like lindsey's contribution to the exhibit. she shoots in color, like i do, so it is great to see more color. she has a gift for capturing distinct moments that balance the conflict that these women are facing did today, but also very intimate, very feminine moments. she has one where a female soldier is shaving her legs at the beginning of her day, and it is kind of an odd thing to consider, but, obviously, it happens every day, but most people do not think about the challenges that face women in these types of environments where they continue to be feminine, continue to be women, but they also serve a vital role in afghanistan. she allows viewers to come in and see those kinds of intimate moments you might not normally

think about. >> to our viewers, and actually the curator of the show. one of the things i was interested in with your work and with the other bodies of work i selected was that you are presenting a real human perspective. each of you zeroes in on individuals, and the kind of sensitive, intimate, or private moments. >> if you look at most people's lives today and the way they spend their lives, it is probably not that different from what goes on on some of these larger for an operating basis. they have cafeterias. they have internet cafes. they have laundromats. they have their own spaces where they read, play video games. it is really like a small, microcosm of what they might find back in the united states. >> what do you hope that viewers take away from seeing your body of work or the exhibition as a whole? >> i think it is important for people to question how much we do or do not know about afghanistan, but conflict in

general. too often today, i think we see one or two images and we think we understand what is going on in a part of the world, and we should try to get away from that. we should question what we know about a conflict, where we got the information, and always look for new perspectives and new focus is on topics that we think we already understand. >> james, thank you for spending time with us, and congratulations on the exhibition and letting san francisco see this big body of work of yours. >> thanks. >> welcome to "culturewire." on this episode, the director of cultural affairs takes us on a field trip to the mission district to check out odc's new

36,000 square foot campus, the largest in the region. >> for san franciscans, odc has a very significant significance. stands for a venerable performing arts organization celebrating its 40th anniversary of bringing fans and theaters to the bay area. standing with me today on "culturewire" is the theater director of odc. thank you for joining us. i mention that this is the 40th anniversary. >> it is indeed. >> i'm standing with you in a fabulous theater that was completed six months ago in time for this anniversary. tell me about how it has been going for the last six months. >> absolutely. in terms