newest board member, a lovely -- i am proud of her. i knew her as a young girl, and she is really our host for tonight. so if you just keep quiet, you're going to get your food. ladies and intimate, board member of the filipina women's network, the one that can put power and lupia together, susie cansada. >> thank you, tita elena. i know everyone is hungry, because i can see the line for me already. i wanted to say, i look forward to this every year, and what we think mary -- thank marily. today was amazing, and i am looking forward to what is to come. here we are. we are a manufacturer. but every year for marily, we

become a catering company. we have three plants. we manufacture here and pittsburg, california. for fwn, i brought my favorite chef, who is ready to serve the fantastic meal that he is prepared for you today using are frozen filipino products. all of our different brands. and in the spirit of october and filipino american heritage month, i am asking if everyone here can share our food and our culture with a non-filipino friend. bring them to the filipino eateries in your area, because we really need to support them. also, we have another filipino food company here, pearl with mamasitas. [applause] we had the same mission. we want to bring filipino food

to everyone. if you can help us by bringing your non-filipino friends to filipino restaurants, that would greatly help. while we enjoy our fabulous friend, my brother, iran, is going to be -- ron, is going to be playing frosome music for usa contemporary mix of guitar riffs and electronic music. please enjoy the food and drink and in the honor of my grandmotot

>> i am the director of visual arts programming at intersection for the arts. intersection for the arts is

based in san francisco and has always been an organization that looks at larger social political issues through the lens of practice, and we are here today at our exhibition of "chico and chang." the original inspiration was drawn from a restaurant chain in new york city. half of their menu is -- what struck me was the graphic pictures and a man in a hat on a rig truck carrying take that time is containers and in the black sea to representation of a mexican guy wearing a sombrero and caring a somali horn. it struck me that these two large, very subversive complex cultures could be boiled down to such simple representations.

chico and chang primarily looks at four topic areas. one of the man was is whose stories are being told and how. one of the artisans in the show has created an amazing body of work working with young adults calling themselves the dreamers. another piece of the exhibition talks about whose stories of exhibition are actually being told. one artist created a magnificent sculpture that sits right in the center of the exhibition. >> these pieces are the physical manifestation of a narrative of a child in memory. an important family friend give us a dining table, very important, and we are excited about it. my little brother and i were 11, 14. we were realizing that they were kind of hand prints everywhere on the bottom where no one would

really see, and it became this kind of a weakening of what child labor is. it was almost like an exercise to show a stranger that feeling we had at that moment. >> the second thing the exhibition covers is how the allocation is defined, a great example on the theme, sculpture called mexicali culture. another bay area artist who has done residencies in china and also to what, mexico. where immigrant communities really helped define how businesses look of a business' sign age and interior decoration, her sculptural piece kind of mismatches the two communities together, creating

this wonderful, fantastical future look at what the present is today. first topic is where we can see where the two communities are intersecting and where they start colliding. teresa fernandez did a sculptural installation, utilizing the ubiquitous blue, white, and read patterns of a rayon bag that many communities used to transport laundry and laundromats to buy groceries and such. she created a little installation kind of mucking up the interior of a household, covering up as many objects that are familiar to the i and the fabric. fourth area of investigation that the exhibition looks at is the larger concerns of the asian and latin communities intersecting with popular cultur one best example -- when he's exemplified is what you see when you enter into the culture.

>> this piece refers to restaurants in tijuana. when you are driving, to speak chinese and you read chinese characters. you see these signs. i was trying to play with the idea of what you see and the direction you read. when you start mixing these different groups of people, different cultures, i like the idea. you can comment on somebody else's culture or someone else's understanding about culture. >> one of the hopes we have for visitors is that they go away taking a better understanding with the broadest and the breadth of issues impacting both

the asian and latin communities here in california and how they spell out into the larger fabric of the communities we live and work in. >> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists. welcome to the show, deborah. tell us how this program began 20 years ago. >> the program began 20 years ago. our founder was an

environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at

installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was done many years ago in new york. it is the only kind of

structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand-

embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and

amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer,

going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d.

>> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. everybody is welcome to come out. we have food. sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists.

we encouraged artists from all mediums to apply. we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪ >> hello. welcome to "culturewire." we are here today with bay area artist jody chanel, and we are here to see the plaza where your piece has just been installed. >> i have been doing large-scale paintings in the galleries and museums, and the idea that in

the future, i could do something that would hang out a little bit longer than the duration of the installation the kind of appeal to me. i quickly found out about the san francisco arts commission school and realized there was a 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."

♪ >> hello and "welcome to meet your district supervisor. we're here with david chiu from district 3. that includes chinatown, fisherman's wharf, and part of the russian hill neighborhood. he was elected to the board in november of 2008 and has served as board president since january of 2009. we will get to know him and talk about the toughest issues facing them. thank you for joining us today. tell us about your background. >> my parents immigrated to the united states in the 1960's. 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 and lived in different parts of boston. i went to catholic price school in dorchester, a section of boston. -- i went to catholic high school in dorchester, a section of boston. because of my parents, my brothers and i were all blessed to go to harvard university. that is where i went to school. it was intense. i stayed there for law school and have a master's in public policy from there. those are subjects i decided to study because i was interested in public service and public policy issues and government. >> you grew up in the boston area. what made you want to make the

transition and moved to san francisco? what motivated you to get involved in politics question marks before i ran for office, and worked in san francisco as a criminal prosecutor and civil rights attorney. i got to understand how much of a be in san francisco is to the rest of the world for social justice. i spent a number of years helping to grow a small business. i got to understand the innovative spirit in san francisco. at night, i volunteered as a neighborhood leader and as feature of an affordable housing organization. i learned so much about the challenges facing our neighborhoods and the special jewels that are the urban villages we live in. i ran for office because i wanted to serve the city and protect all that is so special about san francisco. >> what lessons did you learn

after campaigning for supervisor? >> san franciscans are incredibly interested in their city government, local politics, and making sure that we remain the most amazing city in the world. i learned that san franciscans during campaign read everything they are sent in the mail. they love to meet the candidates and engage in conversations with them. i learned how important it is to build bridges between different communities, particularly communities of diversity that we have. i was incredibly honored to have been elected in november of 2008. >> where do you place yourself on the political spectrum? >> i consider myself someone who shares the progressive values that many sentences can hold dear. we have been a beacon to the rest of the world region that many sentences skins hold dear.

we have been a beacon to the rest of the world for those. >> you are president of the board. describe the role of the opposition and the responsibilities that come with being the president of the board of supervisors. >> as president, i preside over the weekly meetings we have tuesday at 2:00 here in the chamber. i also determine which legislations will go to various committees that we have. as a district supervisor, i sit on a number of legislative committees. >> what are some of the biggest issues facing san francisco? >> we have a lot of challenges right now. we're still in the midst of the great recession. we know too many folks who are struggling in minimum-wage jobs. we know folks who have been laid off of work. as a city, we need to do much better at creating an environment where we have more jobs and economic development.

we are also extremely challenge in our public transit. we talk about being a transit first city, but everyone has had the experience of sitting in gridlock, waiting for the bus, trying to hail that tab, walking on pedestrian sidewalks that are not particularly safe. as a city, we need to do more to invest in the first-class transportation system. >> what are some of the biggest issues facing your district? >> in addition to the local economy that impacts the merchant corridors, to many vacant storefronts, transit issues, in every neighborhood we're having a real conversation about how we change, whether we should preserve aspects of the important characters of our neighborhood or think about building new things.

there is also a real discussion we're having in many neighborhoods about affordability. i hear from too many tenants in the process of being evicted, homeowners being foreclosed on. we need to think about how all of us can continue to live in a city where the whole world wants to be. >> it is a great place to be. >> it is a great place to be. how do you balance the needs of your district versus the needs of the city as a whole? >> i have an incredibly diverse district. it encompasses north beach and chinatown. we have the city's famous hills. we have for the world comes to work, the financial district's, where the world comes to shop in union square, where the tourists spend time on fisherman's wharf , and the wonderful polk street

neighborhoods. my district encompasses the ethnic and economic diversity that exists throughout the city. i think my district is emblematic of the entire city. you can find every political perspective you can possibly want in district 3. oftentimes, the interests of my district and the city are aligned. i do not have to think about those differences quite as often as some of my colleagues may have to. >> let's talk about the budget situation. we have been faced with some tough budget decisions again, including where to make cuts and whether or not to increase taxes. how will you approached these hard choices? >> our budget is one of the very top challenges facing city government right now. over each of the years i have served, we have had to balance budget deficits