that person. it is really fun for me. it is nerve wracking during the actual readings. i hope everyone is good. i hope the audience likes them. i hope everybody shows up. but everything works out. at the end of the reading, everyone is happy. ♪ >> 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." ♪ >> just a few steps away from union square is a quiet corner stone of san francisco's our community to the meridian gallery has a 20-year history of supporting visual arts. experimental music concert, and also readings.

>> give us this day our daily bread at least three times a day. and lead us not into temptation to often on weekdays. [laughter] >> meridians' stands apart from the commercial galleries around union square, and it is because of their core mission, to increase social, philosophical, and spiritual change my isolated individuals and communities. >> it gives a statement, the idea that a significant art of any kind, in any discipline, creates change. >> it is philosophy that attracted david linger to mount a show at meridian. >> you want to feel like your work this summer that it can do some good. i felt like at meridian, it could do some good. we did not even talk about price until the day before the show. of course, meridian needs to support itself and support the

community. but that was not the first consideration, so that made me very happy. >> his work is printed porcelain. he transfers images onto and spoils the surface a fragile shes of clay. each one, only one-tenth of an inch thick. >> it took about two years to get it down. i would say i lose 30% of the pieces that i made. something happens to them. they cracked, the break during the process. it is very complex. they fall apart. but it is worth it to me. there are photographs i took 1 hours 99 the former soviet union. these are blown up to a gigantic images. they lose resolution. i do not mind that, because my images are about the images, but they're also about the idea, which is why there is text all over the entire surface. >> marie in moved into the mansion on powell street just five years ago. its galleries are housed in one of the very rare single family

residences around union square. for the 100th anniversary of the mansion, meridian hosted a series of special events, including a world premiere reading by lawrence ferlinghetti. >> the birth of an american corporate fascism, the next to last free states radio, the next-to-last independent newspaper raising hell, the next-to-last independent bookstore with a mind of its own, the next to last leftie looking for obama nirvana. [laughter] the first day of the wall street occupation set forth upon this continent a new revolutionary nation. [applause]

>> in addition to its own programming as -- of artist talks, meridian has been a downtown host for san francisco states well-known port trees center. recent luminaries have included david meltzer, steve dixon, and jack hirsch man. >> you can black as out of the press, blog and arrest us, tear gas, mace, and shoot us, as we know very well, you will, but this time we're not turning back. we know you are finished. desperate, near the end. hysterical in your flabbergastlyness. amen. >> after the readings, the crowd headed to a reception upstairs by wandering through the other gallery rooms in the historic home. the third floor is not usually reserved for just parties, however. it is the stage for live

performances. ♪ under the guidance of musical curators, these three, meridian has maintained a strong commitment to new music, compositions that are innovative, experimental, and sometimes challenging. sound art is an artistic and event that usually receives short shrift from most galleries because san francisco is musicians have responded by showing strong support for the programming. ♪ looking into meridian's future, she says she wants to keep doing the same thing that she has been doing since 1989.

to enlighten and disturbed. >> i really believe that all the arts have a serious function and that it helps us find out who we are in a much wider sense than we were before we experienced that work of art. ♪ >> when the new california academy of sciences opened in 2008, it quickly became one of the top tourist magnets in the city. part of the cal academies' astronomical success is the weekly nightlife party. >> i am joined by helen, who is here to school me on all the nocturnal activities that are

getting ready to take place here. tell us a little about what we can expect to see at nightlife. >> we open up the doors every thursday night at the california academy of sciences. there are certain things you can see every week you can go to the museum, visit the planetarium, and we bring in bars and a deejay or band. it is a different feel from during the day, something different every week. tonight , we have beer and music. -- tonight we have great beer and music. it is beer week. we have a dozen local brewers in african hall. we have a deejays to set up throughout the museum and a live performance at 9:00 p.m. tonight. >> what has been your favorite part as a participant or as an observer? >> my favorite part is to walk around the aquarium in to see people with a drink in their hands, getting to know maybe somebody new, may be looking for a day, or chatting with friends.

there jellyfish. i mean, they are beautiful. >> the culmination of the animals. >> it is very impressive. we do not have this at home. >> tell us a little about some of the spider's we see here on display. >> at the california academy of sciences, there is a very large collection of preserved and live specimens, which are the evidence about evolution. we have the assassin spiders, which are spiders that exclusively kill and eat other spiders. they are under the microscope here. research done and the california academy's i rhinology lab suggests that the assassin spiders have been doing this for over 150 million years. this glassed in room is a real

scientific laboratory, and the people in that room are preparing specimens of vertebrate, that is mammals and birds. the way they do this is to remove the skin, sew it together in a relatively lifelike pose, and ensure that it does not decompose. >> i am a really big class actress fan, so i am here to see them, and beer week. >> i wanted to learn something and have fun. >> i always enjoy it. i am not all is well -- always working as i am tonight. sometimes i come to enjoy the music and to dance. ♪ >> culturewire covers the arts in san francisco, and one of my favorite culture artists is here tonight. jason, thank you for being on

culturewire. tell us about some of your posters that we have here today. >> most of the posters here are four specific shows or tours. i am hired by the bands or the venue. >> what is the inspiration behind these posters? >> no, disease of the related to the bay and, of course. music -- it is related to the band, of course the musical content or isn't related to the bed. album covers can come from anywhere. ♪ ♪

>> class actress was great. we have been having so much fun. i did not realize how beautiful the cal academy looks than that. what other events take place here? >> we do corporate events that night on a regular basis. but nightlife is your best bet to come in as a regular person pharmacy the academy at night, and visit with friends. calacademy.org/nightlife. we have details for the next few weeks. you can get tickets online in advance or at the door. >> thank you so much. thank you for watching culturewire on sf gov tv. >> bonnie banks. bonnie banks.

my definition of noise is uncontrolled music. without format. pretty simple affair. pancakes, and you're -- people get up on sundays around noon, weekends or whatever. should not be too hard to walk into place. have your audio alarm clock go off for two hours waking your up while you are eating breakfast with many interesting visuals once in a while. improvisation. listening or not to the person you're playing up against or people or machines. trying to get as many different people in as possible. different

genres, experimental noise, electronics, dissonance some drums.a tiny bit of ambient -- the first noise pancake shows, 1999, the first waffle noise, 2001. god-waffle noise, noise pancake came out of cubist art, place on mission street, brutallo, where the church -- opened up his house and saturday morning cartoons. a big space. you can have everybody set up

and barely move equipment around; small room for an audience to move around, walkover and get pancakes without getting burned up in the kitchen. there's like people in their hard-core gabber; people into really fast death metal; black metal. people who don't listen to music at all. guy like larnie bock (sounds like) set up huge, motor driven harp. i don't know how to explain it. 40 foot of motors that he had running over strings and wires.

and then played each string individually with the mixer. there is a feeling of euphoria when somebody's really good at what they do. experiencing a buffer, pushing your bowels out your rear. different. a lot of noise. you don't play clubs with a cleaning schedule, a guy coming in the morning emptying the beer bottles. you play the warehouse. if you travel around you will see the exact same kind of weirdos doing their own thing. it is like in the bay area it's even more absurd. there seems to be more people that in a place like new york or tokyo.

we did a show in new york, i didn't think that anyone was at hardly, and people come up and said i saw the show. i wish they had some kind of breakfast noise going on over there. i think a lot of people were being, walking out of the shows. that was incredible. i can't believe it's over already, after two hours. if you are reluctant to enjoy something like this it will probably take a mass of peers to sell you on it. it's fine if you stay away. most of the people that come to the shows are pretty happy to be here. you may not be one of them. which is fine.

(music) >> herb theatre,open rehearsal. listen to the rehearsal. i think it is fun for them, they see our work process, our discussions, the decisions we make. it is good for us. we kind of behavior little bit when we have people in the audience. msk (music) >> we are rehearsing for our most expensive tour; plus two concerts here. we are proud that the growth of the orchestra, and how it is expanded and it is

being accepted. my ambition when i came on as music director here -- it was evident we needed absolutely excellent work. also evident to me that i thought everyone should know that. this was my purpose. and after we opened, which was a spectacular opening concert about five weeks after that the economy completely crashed. my plan -- and i'm absolutely dogmatic about my plans --were delayed slightly. i would say that in this very difficult timefor the arts and everyone, especially the arts, it's phenomenal how new century has grown

where many unfortunate organizations have stopped. during this period we got ourselves on national radio presence; we started touring, releasing cds, a dvd. we continue to tour. reputation grows and grows and grows and it has never stopped going forward. msk(music) >> the bay area knows the orchestra. you maybe take things for granted a little bit. that is simply not the case will go on the road. the audiences go crazy. they don't see vitality like this on stage. we are capable of conveying joy when we play. msk(music) >> any performance that we do, that a program,

that will be something on the program that you haven't heard before. string orchestra repertoire is pretty small. i used to be boxed into small repertoire. i kept constantly looking for new repertoire and commissioning new arrangements. if you look at the first of the program you have very early, young vibrant mendelson; fabulous opener and then you have this fabulous concerto written for us in the orchestra. is our gift. msk(music) >> and then you have strauss, extraordinary piece. the most challenging of all. string orchestra work.

23 solo instrument, no violin section, now viola section; everybody is responsible for their part in this piece. the challenge is something that i felt not only that we could do , absolutely could do, but i wanted to show off. i can't tell you how aware i am of the audience. not only what i hear but their vibes, so strong. i have been doing this for a long time. i kind of make them feel what i want them to feel. there is nobody in that audience or anywhere that is not going to know that particular song by the fourth