communities, so that we can be a better community in this environment. i also want to give a special thanks to mr. corona, issue is based here in san francisco, for allowing us to be part of this event. [applause] promoting the arts of the latinas. thank you so much. the event is going to be in that court later on. we look forward to seeing you at the reception. i would like to thank our mayor, eduardo lee, which i changed his name to, for letting us join him tonight, hosting this event so we can celebrate together. i look forward to seeing you at the reception. and congratulations once again to all the awardees. thank you. [applause] >> well, thank you very much,

maggie. it seems as though the person who would be accepting the award on superintendent garcia's behalf will not be able to join us. but the presenter is someone who i thought was a very important to pass that a war on it too. i would like to say a few words. he created a program. it is our treasurer. [applause] >> hello, yes was so honored to be here and to join you in giving this incredible award to superintendent carlos garcia. i have had the honor to work with him to launch an exciting program called kindergarten to college, which opens up automatically for every child entering the san francisco public schools at kindergarten a college savings account. it puts an initial deposit in for each and every one of those children. it is funded by the city. it is administered by the treasurer's office, and it is in

a strong partnership with the school district. the reason we're doing this is that studies show that if a child grows up with a college savings account in the child's name, that child is seven times more likely to go to college than a child without a similar account. we want to bring that kind of success to every child here in san francisco. thank you to you all and to the san francisco public schools. [applause] >> and we will be certain that carlos receive his award. there's a special gift that all of us presented with the department of the environment. the bags the honorees will receive. i want to thank the leadership of supervisor john avalos and supervisor campos. [applause] john, you can stand. to make sure that we had certificates of honor from the board of supervisors signed by each and every member for each of our honorees tonight. i wanted to thank the minority

leader, nancy pelosi, for sending someone to bring us her awards but the assembly member who also provided it certificates of recognition. and the senator who joined us tonight. thank you again to wells fargo, to you, maggie, to you, carlos. we're so much looking forward to enjoying the entertainment and the culture that you brought with us to city hall tonight. without further ado, we will begin presenting next door. in addition to that, i wanted to make sure we recognize our other sponsors that are so important for us tonight. an issue to wells fargo and others, want to recognize at&t, pg&e, bullhook bank usa, and a special thank you to ms. ann cervantes, who helped design the beautiful program. thank you for helping to design that.

[applause] she really puts a lot in to make this happen for us. we invite you to try the food next door, served by check moon -- chuck moon, along with the florida street cafe. thank you for bringing us commission language vocational schools and florida street cafe to provide some of our beverages for the evening. we wanted to make sure that we had some libations tonight for all of you that representatives of the latino community. you can try them tonight. the bodega winery and others, all who wanted to be here tonight to help reflect our diversity that we can enjoy. >> please join us in the court over there. muchas gracias. buenos noches. >> thank you, everyone.

>> 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." ♪ software version: 3.0c ++

>> thank you all for joining our wonderful san francisco symphony. and of course, what with the mayor do without issuing the official proclamation? on behalf of our great city, i would love to present in honor of not only the 100 years, but the grammys, oscars, the wonderful quality of work that the symphony has been involved in, to honor them on this day, to resign from our protocol officer the official proclamation presented to michael. declaring this to be san francisco symphony in day in san francisco. [applause] free parking is what he asked for. of all things. and of course, with this opportunity that we could not pass up, where would a 100-share

birthday bash the without the official birthday song? i'm going to ask liang-liang to get on the piano. and i'm going to have ask all of you to sing in your loudest voice. he would like to have his friends in china hear this. let's go with have a birthday, everybody.

[applause] >> we came to seven straight about 10 years ago. -- 7th street about 10 years ago. the environment is huge. it is stronger than willpower.

surrounding yourself with artists, being in a culture where artists are driving, and where a huge amount of them is a healthy environment. >> you are making it safer. push, push. that is better. when i start thinking, i see it actually -- sometimes, i do not see it, but when i do, it is usually from the inside out. it is like watching something being spawned. you go in, and you begin to work, excavate, play with the dancers, and then things began to emerge. you may have a plan that this is what i want to create. here are the ideas i want to play with, but then, you go into the room, and there maybe some fertile ideas that are becoming manifest that are more

interesting than the idea you had initially set out to plan. so there has to be this openness for spontaneity. also, a sense that regardless of the deadline, that you have tons of time so the you can keep your creativity alive and not cut it off and just go into old habits. it is a lot like listening. really listening to watch what is going to emerge. i like this thing where you put your foot on his back. let's keep it. were your mind is is how you build your life. if you put it in steel or in failure, it works. that works. it is a commitment. for most artists, it is a vacation and a life that they have committed themselves to. there is this notion that artists continue to do their

work because of some kind of the external financial support. if that was taken away, artists would still do their art. it is not like there is a prerequisite for these things to happen or i will not do it. how could that be? it is the relationship that you have committed to. it is the vocation. no matter how difficult it gets, you are going to need to produce your art. whether it is a large scale or very small scale. the need to create is going to happen, and you are going to have to fulfill it because that is your life.