pre-qualified school you had to apply to, so i applied to the. >> how long did it take you to develop this work for the plaza? >> this was a fast track project. design development was about a month. >> let's look at the beautiful mural. i have never seen a mural created on asphalt. >> the heat of the asphalt, a new layer of asphalt. then, these wire rope templates that were fabricated for the line work get laid down and literally stamped into the asphalt, and then everything was hand-painted. >> maybe you could talk about some of the symbolism, maybe starting in the middle and working out.

>> [inaudible] the flower of industry. >> it is like a compass. there's an arrow pointing north. >> within the great bear consolation, there are two pointed stars here. they typically lead one to the northstar, otherwise known as polaris. so i thought it has a layer of theme. >> let's talk about some of the other elements in the peace. we are walking along, and there is a weather vane. there's a sweet little bird hanging on the side. what kind of bird is that? >> [inaudible] the smallest of the gulf species, and it lives around the bay area. >> you want to talk about the types of flour patterns that you send? >> [inaudible] around 1926 or so by the dahlia

society. >> what is this bird here? >> that is the california quail. >> coming up here, we had a little blustery theme. what is this area here? >> this is supposed to be the side view, the expense of the golden gate bridge. >> there it is. >> there are really beautiful elements of architecture still around, i would say that it gives that feeling over to the work. >> what are your hopes for it? >> that in a way it just becomes part of the area. i think it is starting to have that feeling. people utilize it. they sit and, and have their lunch and play on -- they sit

and, and have their lunch and play on that -- they sit and come and have their lunch and play on it. just for it to be part of the neighborhood. that is my hope. >> is such a beautiful addition to our public art in san francisco. thank you for joining us. it was nice to meet you. and thank you for telling us about your beautiful mural. thanks for watching "culturewire."

supervisor chiu: i fully appreciate the concerns raised by some tenant leaders. i would never supported the project if i did not feel comfortable that tenant rights have been protected here with parker said -- part merced. i say this as one of the few tenants on the board of supervisors, who has been a staunch advocate of tenants before i was elected and with my votes on this board. my parents immigrated to the united states in the 1960's, and i was the first kid born in the u.s. my parents sacrificed everything so that their kids could have the opportunities that they wanted when they came here. i grew up in the boston area, live in different parts of boston, went to a catholic high

school in dorchester, which is a section of boston. because of my parents work and the opportunities they gave me, my brothers and i were all blessed to go to harvard university. it was intense. i stayed there for college, for law school, and i also have a master's in public policy there. those are subjects i decided to study in part because i was very interested in public service and public policy issues and government. i ran for office in part because i wanted to serve the city and really protect all that is so special about what san francisco is. >> we've been talking for years about how important it is to build new neighborhoods, to develop affordable housing, make sure we have transit-oriented sustainable green development that really is worthy of a 21st century san francisco. what we're doing today -- and, frankly, what we're doing this year will have impacts on the city for decades to come. thank you all for being part of

this, and i look forward to that mid-cutting. i moved to san francisco 15 years ago for all the reasons that we all love our city. our cable cars. our hills. the diversity of our neighborhoods. and have loved every minute of being here. >> like many of you here, i did not actually grow up in san francisco. i grew up in another part of the country that was not quite as tolerant or quite as diverse. san francisco drew me, as i think it through all of us, because we live in a very special place. i just want to say on behalf of the board of supervisors -- we have a special responsibility and a special leadership role in the world. as we come together, we symbolize all of this date we have in humanity, the faith we have in the fight for civil rights, the faith we have, frankly, as a common family.

>> i consider myself someone who shares the progress of value that need san francisco's -- many san franciscans hold dear. >> i do believe that a majority of this board share the same progressive values, and i think there is a danger and an overly narrow definition of what is progressive. we have to remember that being progressive stance for values of inclusiveness, of tolerance, of acceptance, and we need to think hard about how we characterize various votes of either being within that definition or outside of that. >> before i ran for office, i worked in san francisco as a criminal prosecutor and a civil- rights attorney and really got to understand how much of a beacon to the rest of the world san francisco is for social justice. i also been spent a number of years helping to grow a small business, got to understand the

innovative spirit here in san francisco. at night, i volunteered as a neighborhood association leader and also as the chair of an affordable housing organization and learned so much about the challenges facing our neighborhoods and facing a really special tools that are the urban villages that we live in. sen for assistance -- facing really the special jules -- jewels that are the urban villages that we live in. san franciscans during campaigns read everything they are sent in the mail. love to meet candidates. a gauge with them in conversations. i also learned how important it is to build bridges between communities, particularly communities of diversity we have. i was just incredibly honored to have been elected in november 2008. my district really encompasses the ethnic and economic diversity that exists throughout

the city. as a result, i think my district is really emblematic of the entire city. you can find every political perspective that you could possibly want in district 3. so oftentimes, the interest of my district and the city really are quite a line, so i do not have to think about this difference is probably quite as often as some of my colleagues may have to. i in particular want to thank the mayor for his decision to protect our nutrition programs. this is something that i think we all believe is incredibly important at a time when we have seen massive federal and state cuts, for us to hold the line locally and stand up in the city of st. francis for our seniors and our nutrition programs and families. i think we have a lot of challenges right now. we are still in the midst of the great recession. we all know way too many folks who are struggling in a minimum wage jobs pirouette of folks who have been laid off at work. i think as a city, we need to do much better at creating an

environment where we have more jobs and more economic development. i know that all of us are committed to ensuring that we have a budget that not only provides basic city services that we have come to expect but make sure that we take care of our most vulnerable. whether it be our at-risk use, our seniors, are disabled, our working families, folks who are out of work. i know something that every public servant who is here is committed to. adding with all come together as a board, as a city. we should come together as san franciscans, and, colleagues, at this time, i hope, and i asked that we unanimously vote for ed lee to be our next mayor. this is also a historic day for the asian-american community. for a community that has been here in santa francisco, for over 160 years, i am a product

of that community. i know the ed and all of us of asian-american decent feel the legacy. i want to thank all of you who have been part of this historic moment to make this happen. and say that this is obviously not just about a chinese- american community or an asian american community. this is about the american dream. the idea that anyone of any background of any color from any part of the globe can come here and sunday be at the very top of what our community is about -- and someday be at the very top of what our community is about.

>> here we are at the embarcadero. we are standing at one of locations for the street artists. can you tell me about this particular location, the program? >> this location is very significant. this was the very first and only location granted by the board of supervisors for the street artist when the program began in 1972. how does a person become a street artist? there are two major tenants. you must make the work yourself and you must sell the work

yourself. a street artist, the license, then submitting the work to a committee of artists. this committee actually watches them make the work in front of them so that we can verify that it is all their own work. >> what happened during the holiday to make this an exciting location? >> this would be a magic time of year. you would probably see this place is jammed with street artists. as the no, there is a lottery held at 6 in the morning. that is how sought after the spaces are. you might get as many as 150 street artists to show up for 50 spaces. >> what other areas can a licensed street artist go to? >> they can go to the fisherman's wharf area. they can go in and around union square. we have space is now up in the

castro, in fact. >> how many are there? >> we have about 420. >> are they here all year round? >> out of the 420, i know 150 to sell all year round. i mean like five-seven days a week. >> are they making their living of of this? >> this is their sole source of income for many. >> how long have you been with this program. how much has it changed? >> i have been with the program since it began 37 and a half years ago but i have seen changes in the trend. fashion comes and goes. >> i think that you can still find plenty of titis perhaps. >> this is because the 60's is retro for a lot of people. i have seen that come back, yes.

>> people still think of this city as the birth of that movement. great, thank you for talking about the background of the program. i'm excited to go shopping. >> i would like you to meet two street artists. this is linda and jeremy. >> night said to me to print them -- nice to meet you. >> can you talk to me about a variety of products that use cell? >> we have these lovely constructed platters. we make these wonderful powder bowls. they can have a lot of color. >> york also using your license.

-- you are also using your license. >> this means that i can register with the city. this makes sure that our family participated in making all of these. >> this comes by licensed artists. the person selling it is the person that made it. there is nothing better than the people that made it. >> i would like you to meet michael johnson. he has been in the program for over 8 years. >> nice to me you. what inspired your photography? >> i am inspired everything that i see. the greatest thing about being a photographer is being able to

show other people what i see. i have mostly worked in cuba and work that i shot here in san francisco. >> what is it about being a street artist that you particularly like? >> i liked it to the first day that i did it. i like talking to mentum people. talking about art or anything that comes to our minds. there is more visibility than i would see in any store front. this would cost us relatively very little. >> i am so happy to meet you. i wish you all of the best. >> you are the wonderful artist that makes these color coding. >> nice to me to. >> i have been a street artist

since 1976. >> how did you decide to be a street artist? >> i was working on union square. on lunch hours, i would be there visiting the artist. it was interesting, exciting, and i have a creative streak in me. it ranges from t-shirts, jackets, hats. what is the day of the life of a street artist? >> they have their 2536 in the morning. by the end of the day, the last people to pack the vehicle probably get on their own at 7:30 at night. >> nice to me to condemn the -- nice to meet you. >> it was a pleasure to share this with you. i hope that the bay area will

descend upon the plaza and go through these arts and crafts and by some holiday gifts. >> that would be amazing. thank you so much for the hard work that you do. >> the san francisco cons tri of flowers in golden gate park is now showing a new exhibit that changes the way we see the

plants around us. amy stewart's best-selling book, "wicked plants" is the inspiration behind the new exhibit that takes us to the dark side of the plant world. >> i am amy stewart. i am the arthur of "wicked plants," the weeds that killed lincoln's mother and other botanical atrocities. with the screens fly trap, that is kind of where everybody went initially, you mean like that? i kind of thought, well, all it does is eat up bugs. that is not very wicked. so what? by wicked, what i mean is that they are poisonous, dangerous, deadly or immoral or maybe illegal or offensive or awful in some way. i am in the profession of going around and interviewing botanists, horticulturalists and plant scientists. they all seem to have some

little plant tucked away in the corner of a greenhouse that maybe they weren't supposed to have. i got interested in this idea that maybe there was a dark side to plants. >> the white snake root. people who consumed milk or meat from a cow that fed on white snake root faced severe pain. milk sickness, as it was culled, resulted in vomiting, tremors, delirium and death. one of the most famous victims of milk sickness was nancy hangs lincoln. she died at the age of 34, leaving behind 9-year-old abraham lincoln. he helped build his mother's casket by carving the woodallen petition douche the wooden

petition himself. >> we transformed the gallery to and eerie victorian garden. my name is lowe hodges, and i am the director of operations and exhibitions at the conls tore of -- cons tore of flowers. we decided it needed context. so we needed a house or a building. the story behind the couple in the window, you can see his wife has just served him a glass of wine, and he is slumped over the table as the poison takes affect. a neat little factold dominion about that house is actually built out of three panels from old james bond movie. we wanted people to feel like i am not supposed to be in this room. this is the one that is supposed to be barred off and

locked up. >> the ole andersonner -- oleander. this popular shrub is popular in warm climates. it has been implicated in a surprising number of murders and accidental deaths. children are at risk because it takes only a few leaves to kill them. a southern california woman tried to collect on her husband's life insurance by putting the leaves in his food. she is now one of 15 women on california's death rowan the only one who attempted to murder with a plant. >> people who may haven't been to their cons tore or been to -- do serve tore or their botanical garden, it gives them a reason to come back. you think let's go and look at the pretty flowers. these are pretty flowers, but

they are flowers with weird and fascinating stories behind them. that is really fun and really not what people normally think of when they come to a horticultural institution. >> "wicked plants" is now showing at the san francisco conserve tore of flowers. unless next time, get out and play. >> many people are not awaf 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