each and every day here in the city. we protect public health and safety and environment because we are discharging into the bay and into the ocean. this is essentially the first treatment here at our waste water treatment facility. what we do is slow down the water so that things either settle to the bottom or float to the top. you see we have a nice selection of things floating around there, things from bubble gum wrappers, toilet paper, whatever you dump down the toilet, whatever gets into our storm drains, that's what gets into our waste water treatment and we have to clean. >> see these chains here, this keeps scum from building up. >> on this end in the liquid end basically we're just trying to produce a good water product that doesn't negatively impact the receiving water so that we

have recreation and no bad impact on fish and aquatic life. solids is what's happening. . >> by sludge, what exactly do you mean? is that the actual technical term? . >> it's a technical term and it's used in a lot of different ways, but this is organic sewage sludge. basically what it is is, oh, maybe things that come out of your garbage disposal, things that are fecal in nature. it's sludge left in the water after the primary treatment, then we blend those two over and send them over to digestion. this building is built to replace tanks here that were so odoriferous they would curl your hair. we built this as an interim

process. >> is there a coagulant introduced somewhere in the middle of this? . >> this coagulant brings solids together and lets the water run through. that gives us more time in the digestion process, more time to reduce the amount of solids. these are the biggest ones in the world, like we always like to do in san francisco. they are 4 meter, there's none like it in the world. >> really? wow. >> three meters, usually. we got the biggest, if not the best. so here we are. look at that baby hum. river of sludge. >> one of the things is we use bacteria that's common in our own guts to create this reduction. it's like an extra digestion. one of the things we have to do to facilitate that is heat that sludge up and keep it at the

temperature our body likes, 98.6 degrees. >> so what we have here is the heat exchanger for digester no. 6. these clog up with debris and we're coming in to -- next wet weather season so we always come through here, clean them out, make sure that we get maximum heat exchange during the colder wet weather. sludge season. >> rubber glove. >> right here. >> rubber glove, excellent. all right, guys. >> thank you. >> good luck. >> this is the full on hazmat. . >> residual liquid. we're taking it time to let it drain. we don't want to get sludge on it necessarily. take your time. stand on the side of it.

. >> should we let it release for a while? . >> let it release. >> is that the technical term? . >> this is the most important bolt on the whole thing. this is the locking bolt. it locks this thing right in place. so now. >> take your hammer and what we want to do, we get rag build up right in here. the hot water recirculates right in here, the sludge recirculates in here. the sludge sometimes has rags in it. all we want to do is go around the clean the rags. let me show you how. take the slide hammer, go all the way through the back, go around. >> got you.

>> during the real rainy season, how does that change the way dealing with this job? is it a lot more stuff in there? . >> what we do, charles, we do this quarterly. every four months we go around and clean all the heat exchangers so we don't have a large build up. . >> go around? . >> yeah. (sound of hammering). >> what i'm trying to do, charles, is always pull it out on the low stroke. >> right. so you are not, like, flying out. now talk about clean up.

. >> then where does this stuff get deposited? . >> we're going to dump it in a debris box and it will go back to the plant. >> if you think back, the romans came up with a system of plumbing that allowed us it use water to transport waste away from the hub of civilization, which enabled cities to grow. . >> you have a large bowl, a drive motor and another motor with a planetary gearbox with differential pressure inside there. the large mass up there spinning separating the solids from the liquid. we have to prevent about once a month, we go in there grease those, change the oil, check the vibration levels.

the operators can tell just by the hum of that machine that it's a harmonic noise emitted that it's out of balance and the machine needs to be cleaned. it will start vibrating and we have vibration analysis machines that will come over here and check the levels. so it's kind of an on-going thing that you have to stay on top of on a daily basis. >> handled properly, you take organic residuals, as we call them, that are leftovers of our society and turn them back into some energy. and we have another ability to take that sludge and get a nutrient value for crops there. we actually are running a kind of composting energy recovery system. >> well, this is a dirty job. we try to do it safely and we try to do it without imposing too much on the public.

people want to flush their toilets and have things go away and not be bothersome again. we do a lot to try to accomplish that. i'd like to invite you to come back any time you want. once you got this in your blood, you are not going to be able to stay away. the raging waters are fun and when we do digester cleaning i really hope you can come back. that's quite a sight. >> yeah, that sounds interesting. >> i really appreciate you coming by and it was a >> welcome to coulterwire. the san francisco arts commission and department of public works has joined forces by battling graffiti by launching a new program called street smarts. the program connects established artist with private property owners to create a vibrant

murals which is a proven an effective strategy for combating graffiti on private property. artists, along with his crew, recently transformed a building turn to vandalism into a masterpiece. let us take a look. >> part of me has so much compassion for other graffiti artists. i understand why they are doing what they do. for me, it was something that was so hard to get out of. the lifestyle in general. j and tagging is addicting. i used to be on these routes. i have compassion for these guys. a lot of these guys are super

talented. i am just trying to find the median to still be involved but still do my thing as an artist and work with the city, like we are doing. we are doing this wall in a collaboration with the san francisco arts commission. basically what they are doing is trying to get rid of some of the tags and by putting up murals. they are cooking up graffiti artists with business owners. today, we are trying to get a lot of this wall buffed out and covered it. then we will spray on some sketches of what we are going to do. the rain is coming tomorrow. it should be here for a few days. we want others to know that there are artists working on this wall. the owner of this building, she

has had to pay a lot of money to keep on paying over these attacks. >> we have paid as much as $400. the fed typically have been talk about four times a year. typically, it happened right after we have been notified that we need to remove it. the painter will go up there and paid over the graffiti and make a perfect canvas for the tigers to come back. this program appeals to me because we were looking for a way to stop the taggers and the ugly graffiti. this program has beautiful work done by great artists that we thought would look great on our building. cameron talked about a few difficulties that he thought would be great. he called me and we talked about a theme of what he could do to the side of the building.

he took some pictures and e-mail them to me. >> we are going to do all kinds of animals and plants. also, we are all to doing graffiti letters. if you one other taggers to respect our, you have to respect graffiti art. >> if you had a lot of characters in it, you will get more respect from business owners and stuff like that, but letters will give you the respect of the graffiti artists. i have actually had in my name in this patch of seaweed. >> what if we did it a giant blue whale?

>> i was going to do a puffer fish. >> the program for the children is just so important. this is important, too, but you have to get at the kids to find out why they are doing it and direct them in more positive ways. i think what you are doing is great. >> have a good day. see you later. >> dana has been great, she has been a sport about the project. it was cool for her to see it and actually like it. as an artist, it means a lot to us. we are going to make it look really clean today. then it should be done. we have had this mural of for

about six years and it has not been tagged. it really works as a deterrent. a lot of us graffiti artists have been waiting for an opportunity like this, to express ourselves on walls. and there are so many walls around the city that could be beautified. i am so thankful that this opportunity has come about. >> my word encourage anyone who is thinking about it to really jump on the bandwagon. it is looking beautiful. when i came here this morning, i was notified that taggers were there last night, but fortunately, they did not touch our building. >> to check out the mural in person, stop by 65 polk road. in addition to being a street smarts artist, he has been teaching students about the value for public space and

creating public art for the communities through a program called where art lives. for a full list of other in your locations and to learn more about the efforts to combat vandalism, visit >> as the city of san francisco has grown, there are a number of cultural organizations that have grown with it. the san francisco symphony, the ballet, and ensure we are celebrating the 75th anniversary of the san francisco museum of modern art's. one of the things many of our viewers may not understand about museums is the way they grow and evolve is really about a broad. his patient and support from

many individuals who give their collections -- and broad support from many individuals who give their collections to the museum. this year it will be celebrating and abolishing those individuals through exhibition -- and acknowledging those individuals throughout asia. joining me is janet bishop, the curator. i understand you have been with the museum quite a number of years. you remember its original home on van ness. now you are part of that transition to the center, the civic center, and of course your museum has been really the anchor of cultural tenants that has helped us transform this area of the city. >> to my mind, it is wonderful to be part of such a rich cultural community.

when visitors come to this area, that have so many different options. >> let's talk about the anniversary show, which will be a phenomenal opportunity for san franciscans and all visitors of the city to get a real sense of how the city has grown and the importance of culture. >> we focus on moments where it was involved in pushing the dialogue about contemporary art forward. the jackson pollock exhibition in 1945 is a perfect example of that. our founding director was deeply interested in abstraction and was engaged in dialogue with the guggenheim about bringing the jackson pollack showed to the west coast. the original price for the painting, $750. are directors thought that was too much of a stretch before the board of trustees, so she convinced them to reduce the price to firefighter dollars. it was just -- to $500.

it was what was needed to persuade the board. it is a very subjective history of art. it has been very much shaped by the individuals involved with the museum over the years. in 1935, would start with the gallery with works that came in through albert bender, one of our founding trusties. when we opened our doors in 1935, 181 of the 186 pieces in our permanent collection had been gifted. >> what are the names that pop out as the museum evolved? >> we have another gallery that looks at the theories that the museum has since the late 1980's. we focus on a particular aspect of that program that developed under one of art curators.

he arrived in 1989 and was especially interested in artists. >> are some of the highlights? >> one of the aspects of the museum program that i have been especially involved with have been the exhibitions that stand for society for the encouragement of contemporary art. it is encouraged to honor exceptional bay area artists during their careers. for instance, an early worked who showed here in 1996. for this exhibition, he has extended an updated it to 2010 with the addition of photographs and other frameworks. >> thank you for joining us. >> my pleasure. >> as we examine the 75th anniversary, we cannot overlook

its important role as an educational institution and how it brings public program to all of our citizens in the bay area. try me now to talk about that is dominick, the curator of education and public programs. you are vested with a multifaceted responsibility, with education and also multimedia. could you explain that? >> there are three main areas. we produce education activities for all ages, k-12, and adults, and we also produce a lot of educational media, a lot of interviews with artists, stuff that we published online, and other galleries. there's also a public program,

which include some educational activities, but also live cultural programming for the artists projects. >> what are all the ways that the museum reaches out? >> the latest platform for educational media is launching right now with his anniversary. we have gotten to the point where we could put a lot of the content about artists, the stories behind artists we have had on line, but those on to the ipod touch. >> could you talk about the education role that the museum plays in the city of san francisco? >> we are in the middle of a new initiative to provide more resources and programs for families and the locality. we are benefiting from a grant from the wallace foundation, and in the last two years many more

bay area families have come to the museum, participated in the programs, most of which take place on sundays. we will see more and more different offerings rolled out in the coming months. >> thank you, dominic, for being part of "culture wire." >> the museums are almost like a team sport. there is a tremendous amount of talented staff that puts together patrons to help support the institutions, but they all need a coach. the coach is the director. neal, could you let the viewers know, you have been director how long? >> we are working on eight years. >> now you have the 75th anniversary. how does that feel? >> we opened this building in 1995. it was bought at that time as a

move from the civic center and the veterans building 2 third street, into our new building, a much expanded space, better space. it will be wonderful for the museum for decades to come. and 15 short years we have been amazed by we have outgrown the building. the collection has grown to 26,000 works. >> was a challenging to decide what was going to be put on display during the anniversary year? >> 3 people on our staff spent 2 1/2 years of going through archives, the storage vaults, honor think all kinds of works that we have not seen -- uncovering lot of works that we have not seen but also history we uncovered about how we presented a television show produced by the museum, in the museum, in 1950.

a lot of great stories that the presentation tells. >> the most recent news was the incredible decision on the part of donna morris fisher to give their collection to sfmoma. >> think it is commonly understood that the fischer collection was 1100 works by some of the great contemporary works, one of the great collections in the world. in fact, the collection has not been seen. it has been largely stored at the headquarters, there has never been a publication or exhibition. >> but fischer collection and the additional expansion over the next 50 years, what in the next 25 years will the museum be doing? >> we are very committed to

expanding the museum, expanding the collection, the overall growth of the museum. that is one of the things that is very important to us. we are about to enter a strategic planning process. the fundamental question we want to address is, how wil sfmoma growth and enhanced its engagement with the community? it is not enough that the museum has great works in its collection, has great exhibitions, wonderful education programs, it is how does the institution grow and enhance its relationship with the community. it is very important to us. >> on behalf of the residents of san francisco, we thank you for shepherding this institution through this incredible growth phase, and thank you for being part of "culture wire." >> my pleasure, thank you. >> the museum has exciting

anni >> welcome to "culture wire." on this episode, we explore what it means to the aged, in today's society -- what it means to be chicana in today's society. chica chic features an array of artwork by five leading chicana artists that addresses a range of issues such as integration, sustainability, and integration. using a distinct visual approach, each of the artist's response to the shifting needs of their communities in ways that offer unique perspectives and multiple points of entry.

>> the exhibition is to bring together the voices of a new generation chicana artists, all of whom reference the works of the civil-rights movement in their works, but they are also responding to a new cultural concerns and new cultural circumstances. >> the works in the show include a large canvas depicting a woman washing the beach with her hair at the u.s./mexican border. the painting encourages the viewer to engage with the current debates over immigration and the politics of women and labor. influenced by the campaigns of the chicano civil rights movement, this oakland artist is a print maker whose work has helped and sustainability with the immigrant community as well as other current sociopolitical issues. this print-based work draws on appropriated agricultural worker

manuals and high fashion labels to satirically address class issues, cultural identities, and consumerism. >> angelica -- her father was an agricultural worker, so she has drawn a lot from the materials the agricultural department sends to agricultural workers, referencing the depiction of farm workers and some of the information about pesticide application. >> mitzi combines a variety of media, including embroidery, to create artifacts of mexican, chicano, pop culture. she greets immensely detailed drawings of celebrities on the same platform of her friends and families. her work combines elements of chicano portraiture and low writer art, rendered in upon new art style, or intricate drawings on handkerchiefs, also -- often associated with prison art.

her portrait of three girls is among several of original posters by the exhibition artists, which are on view at various bart stations as part of a public campaign funded by the national endowment of the arts. from the outset, the curator felt it was important for the exhibition to have a public art components of the work could reach the widest possible audience. more than just a promotion, the posters connect the work of these powerful artists with new audiences, including the vital chicano and latino community. images can be found in bart stations located in san for cisco and oakland. >> it is enormously exciting for me personally and for the institution. the poster with up right after new year's, and i remember very vividly -- i am a regular rider, and i went into the station and vividly -- i am a regular rider, and i went into the station and