assessed. find out what the geology is at your site. get an expert in to look at structural and nonstructural losses. the structural losses, a lot of times, aren't going to be that bad if you prepare. an ounce of prevention is worth a pound of cure. get in there and get your property assessed and figure it out. >> so, what is a nonstructural issue that might cause losses? >> well, you know, pipes, for instance. pipes will whip around during an earthquake. and if they're anchored in more numerous locations, that whipping won't cause a breakage that will cause a flood. >> i've heard water damage is a major, major problem after earthquakes actually. >> it is. that's one of the big things. a lot of things falling over, ceilings collapsing. but all of this can be prevented by an expert coming in and assessing where those problem areas and often the fixes are really, really cheap. >> who do you call when you

want to have that kind of assessment or evaluation done? >> the structural engineering community is great. we have the structural engineers association of northern california right here in san francisco. they're a wealth of information and resources. >> what kinds of things might you encourage tenants to do besides simply get tenants renters insurance and earthquake insurance, what else do you think tenants should do? >> i think it's really important to know if they happen to be in the building where is the safest place for them to go when the shaking starts. if they're out of the building, whats' their continuity plan for connecting with family? they should give their emergency contact information to their resident manager so that the resident manager knows how to get in touch. and have emergency supplies on hand. the tenants should be responsible to have their extra water and flashlights and bandages and know how to use a toilet when there's no sewage

and water flows down. and the owners of the building should be proactive in that regard as well. >> so, george, thank you so much for joining us. that was really great. and thanks to spur for hosting us here in this wonderful exhibit. and thank you for joining us

>> 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.

>> 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. we will look at the latest and greatest public art project. recently, the airport unveiled the new state of the art terminal. let's take a look. the new terminal service and american airlines and virgin america was designed by a world- renowned architecture's firm. originally built in 1954, the building underwent massive renovation to become the first registered terminal and one of the must modern and sustainable

terminals and the united states. the public art program continues its 30-year legacy of integrating art into the airport environment with the addition of five new commissions that are as bold and dynamic as the new building. >> this project was completed in record time, and we were able to integrate the artist's early enough in the process that they could work with the architect said that the work that is completed is the work that really helps complement and instill the space as opposed to being tucked away in a corner. >> be experience begins with the glass facades that was designed with over 120 laminated glass panels. it captures the experience of being under or over clouds when flying in a plane.

depending on the distance or point of view, it can appear clear for more abstract and atmospheric. the subtle colors change gradually depending on the light and the time of day. >> i wanted to create an art work that looks over time as well as working on in the first glance. the first time you come here, you may not see a. but you may be able to see one side over the other. it features a couple of suspended sculptures. each was created out of a series of flat plains run parallel to each other and constructed of steel tubing. >> it is made up of these strata. as the light starts to shift, there is a real sense that there is a dynamism.

>> it gives the illusion that this cultures might be fragments of a larger, mysterious mass. >> the environmental artwork livens it with color, light, and the movement. three large woven soldiers are suspended. these are activated by custom air flow program. >> i channeled air flow into each of these forms that makes it move ever so slightly. and it is beating like a heart. if-0 when as of the forces of nature moving around us every second. >> shadow patterns reflect the shapes of the hanging sculptures. the new terminal also features a

children's play areas. both of the market the exploratory n.y. -- exploratorium. the offer travelers of all ages a playful oasis. using high quality plywood, they created henches shaped like a bird wings that double as musical instruments. serving as a backdrop is a mural featuring images of local birds and san francisco's famous skyline. >> in the line between that is so natural, you can see birds and be in complete wilderness. i really like that about this. you could maybe get a little snapshot of what they are expecting.

>> it is an interactive, keck sculpture that is interacted with by the visitor. >> they are a lot about and they fall down the belt. it moves the belt up, and if you turn that faster, the butterflies fall in the move of words. >> the art reflect the commission's commitment to acquiring the best work from the bay area and beyond. in addition to the five new commissions, 20 artworks that were already in the airport collection were reinstalled. some of which were historically cited in the terminal. it includes major sculptures by the international artists. as a collection, these art works tell the story of the vibrant

arts scene in the early 1960's through the mid-1980s's. the illustrate san francisco's cultural center and a place of innovation that is recognized and the love throughout the world. one of the highlights is a series of three left tapestries. they are on view after being in storage for 20 years. these tapestries representing various gardens. from his years of living in san francisco. hydrangeas, chrysanthemums, and whilst dahlias in rich, deep shades as they make their way to the baggage area. they can access behind-the- scenes information and interviews with the artist through an audio to work. it features archival audio as

well as interviews with living artists. he can be accessed on site by dialing the telephone numbers located near the artwork or by visiting the commission's web site. the public art speaks volumes of san francisco as a world-class city with world-class art and culture. for more information, visit >> 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."