the story of the arts commission's new program art care begins with venerable art dealer ruth bronstein. 2010 is her 50th year as an art dealer. at the helm of the bronstein key gallery she has represented some of the most notable bay area artists and continues to look for new talent. >> the artists that i represent and why do i choose them has to do with the background of what the gallery is about. i love the idea of finding new artist he is and watching them grow. it is the old fashioned way of having a gallery, which is having a stable. so, what you have there is a loyalty to them and the artist is loyal to you. so, the whole philosophy behind th that, my philosophy hasn't changed since i started 49 years a ago. i take care of you and you take care of me. it has been that way ever since. >> she represents the estate of world renowned skuculptor peter vulkus who passed away in 2002. in 1971 he created a beloved untitled public work sited at seventh and brian. like many other public works of art it is in need of repair. ruth began conversations with the director of cultural affairs and

if so the president of the san francisco arts commission. -- i am the president of the sentences " arts commission. we're pleased to present to you today this incredible temporary work of art. three heads, six arms by the internationally renowned artist. this is conjunction with the 30th anniversary city celebration. you will hear more about that as well. we're pleased to have you here. we're pleased to have the artist join us today along with our various partners in this effort. this piece will be with us for 18 months. everyone will have a chance to see it in various lights and from various angles and be able to enjoy his presence here and san francisco. i cannot imagine a more gorgeous morning to kick this off. thank you for joining us. we have the mayor, who told his staff and the folks at the san francisco arts commission that he wanted something spectacular to mark the anniversary. you will hear from the people who took that directive and got it done. first and foremost is the executive director of the san francisco arts commission. working with the rest of the staff at the arts c

the san francisco arts commission worked tirelessly to applying the arts in richmond fund and then we got a little bit of help along the way. -- enrichment fund and then we got a little bit of help along the way. finally, i think that we should take a moment to not only and knowledge and celebrate the brilliance of the artists but also the hard work and the tenacity of the many people who helped make this happen. greg mentioned a few of them, i would like to make a mention in particular, the director of public arts for the city and county of san francisco who shepherded the project from its inception to this day with a lot of help from my former colleagues on the arts commissioner. the former chair of the public art committee as well as in other former commissioner who contributed their expertise to the project and helped to guide it to success. we would not be here today without their dedication and tenacity. we'll be joined by the dean of academic affairs at the san francisco art institute. i want to thank her and welcome her to the microphone. thank you. [applause] >> thank you for

pablo picasso's art shaped his life while his life shaped his art. he is considered the preeminent artist of the 20th century. throughout his 91 years, picasso expressed himself in many forms of art. he had many lovers and he had many friends. he had children who loved him and women more who died for him and women who stood up to him and along the way he produced thousands of pieces of work that hang all over the world in private homes and in great art institutions. one of them is the metropolitan museum of art here in new york city. it was in 1946 that the great museum and the great artist first met. in that year, gertrude stein bequeath it had portrait picasso painted of her in 1906. over the next 60 years, the museum has come to acquire the second-largest picasso holdings in the united states. the exhibition picasso and the metropolitan museum of art is devoted exclusively to the works by key casso in its permanent collection. it comprises 300 works, including 34 paintings, 58 drawings, a dozen sculptures and ceramics and an an extensive selection

this is an art class in san francisco hospital. art class for crippled children. the photographers that i find of san francisco indicate that schools were integrated at the lowest level. you could mitigate the racial problem from the bottom up. there was also adult education too. this 1 learned one learned to read as many did. many of the community colleges were a result of the new deal. sacramento. i gave a talk at santa rosa and the city college in san francisco was largely a product of the pwa and has wonderful art work all over it by the art in action project at the treasure island fair. and then there's these special schools for crippled children. this is in the mission district and it's a beautiful school with all the features we take for granted because of the americans with disabilities act. it has wonderful tiles. this was not accidental. this is the sunshine school. we made the school as beautiful as possible to take the children's minds off their problems. it was also crippled children. this might sound familiar to you if you know the history of preside

art scenes. and we invite everyone to participate and to see the unique art works that have been developed. >> to learn more, visit >> welco" today we are visiting southern exposure in san francisco alison prepares to launch a fantastic new project called beautiful possibilities. we will send them on a two-year adventure crisscrossing the united states to investigate american history and contemporary culture. it is using a traveling road show as inspiration. she will sit down and talk with residents in search of stories and experiences that reveals exactly what makes us americans. >> beautiful possibility is a traveling research project that i will take on a five-month journey across the united states and lower canada. i document this tore on a map that i painted for the project and also from previous projects called the road map to lost america. on the map i have taken all of the contemporary borders off the map and replaced them with native territories, and then overlaid it with contemporary hi

the mission cultural center for latino arts makes the arts accessible to community development and well become. as a community nonprofit arts organization, mccla prides itself in enriching in a most unique way the cultural and artistic life of the mission, san francisco, and the bay area residents. the board of directors, management, and staff all share a commitment to providing quality and relevant art programs and services to the community. thank you. [applause] >> in case you haven't been to the mission district and on mission boulevard, you cannot miss it. it's a beautiful building that is alive every day and every moment. it's a wonderful, wonderful organization. >> and you're probably all wondering what these bags are. the bags were donated graciously by the public utilities commission and they contain -- it's a goodie bag -- certificates of honors from almost every elected official in the city and county of san francisco from our board of supervisors to our treasurer to members of the congress, senators and assemblypeople. that's what those bags contain plus an i love san francis

second, there is a great variety of art. we have taken this opportunity to kind of expand the notion of art, 8 you will, well beyond the traditional concepts. so you're going to be seeing some really exciting ideas that will challenge the public, that will be interesting every day that the building is being used, and i think, will expand people's understanding of the way art and architecture work together. the third issue, that is very important, is that the building and the arts need to be integrated. what we want to avoid is the stand that the art is simply being purchased and installed, so we have been working with each individual artist very closely to be absolutely certain that the art and architecture are really of one piece. next, an extremely importantly, these are very practical proposals. each of them has been vetted thoroughly in terms of technical perspective, costs, and stability. each artist has been working with contractors, with suppliers to be certain that these are actual pieces. finally, i find this very e

in the art and civic life. this year's award is to none other than carlos santana. before the award ceremony, the director of cultural affairs had a chance to sit down with carlos to ask him a few questions. >> once a year, mayor gavin newsom gets to select one distinguished individual to receive the mayor's arts award. in 2010,á(át that distinguished individual was none other than the legendary musician carlos santana. carlos, it is so great for the city to be able to recognize you. given all of your accomplishments already, from the awards, all of the other distinctions you have received, what does it mean for you to get the mayor's part award? >> i am very grateful, moved. i always want to be in the company of illuminaries like cesar chavez. people making a difference, but to people's hearts. giving people a sense of tangible hope. one thing is to be famous, it is quite another for people to like you. i am grateful for this award. it is another blessing. i do not take it for granted. this is an incredible c

art scenes. and we invite everyone to participate and to see the unique art works that have been developed. >> to learn more, 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,

and you can find more information >> the san francisco arts commission's public arts program made a big splash in the civic center with the world premiere of three heads, six arms. the artist came from shanghai to help us celebrate the unavailing. we had a chance to speak with him about his work. >> the san francisco arts commission is pleased to be celebrating their relationship between san high and san francisco. the shanghai and san francisco. this is a 30 relationship that stretches back to win dianne feinstein was the mayor of san francisco. we premiered a new work of art here in san francisco called the three heads, six arms. welcome to san francisco. thank you for bringing your extraordinary sculpture. can you tell me about what inspired you to create this sculpture? >> this started with some trips that i took years ago. i went to to bed and i saw a lot of statues and i started to really feel the spiritual life of people in tibet. it really inspires me and i went back to shanghai and i started the creation of this. >> we see that one of the heads of the bullet it is your face. ca

they really have been partners with many of the arts community and organizations, as well as the arts commission. many of you will remember that when we saw the installation, the examiner helped to spread the word throughout the city by printing 100,000 copies of the handouts that were distributed for an entire year while he got his sound insulation installed in city hall. they have been extraordinary partners on many occasions. thank you so much. i was blessed when i came to san francisco to have found extraordinary, talented, dedicated, hard-working, more than 40 hours per week staff. i would like to thank them, please join me in thanking this hard-working staff. they really deserve it, they were -- will work tirelessly on behalf of arts and culture in the city, and they never punch a clock. they are extraordinary. this evening we have a double celebration. not only do we have literally a rock star robbery -- pottery -- honoree, but hundreds of arts organizations here in san francisco, in the year approved, 2009, we can celebrate the good fortune of these people calling at home. we

to continue to fulfill the pledge from one year ago to expand the coverage of the arts and support arts in our community. we want to thank you for allowing us to move out on this rewarding mission, thanking you for the opportunity to serve tonight on this stage and on the stage that is our city, every day of the week. we are honored to share this night with one of the musical greats of all time. we want to congratulate carlos on a wonderful, outstanding career and on his award tonight. thank you, everyone. [applause] >> so, the first time that i saw carlos santana was when i graduated from high school in angels camp, he played some legendary shows there with the grateful dead. a lot of incredible memories followed, filling the auditorium, carlos's superstar status went through the roof in the 1990's and continues today. the last time that i saw him was at the amphitheater with 25,000 people. everyone in this room, mostly everyone in this room, has seen santana of at least a few times. i know that everyone appreciates what an incredible artists he is. it is really special to be able to a

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

to give this new hormone to the world and to the arts. [speaking chinese] >> i want to thank everybody who worked really hard on this project, their intelligence, their hard work, people working in the city hall and the sponsors. [speaking chinese] >> nobody wants war and hurtful things happening in this world any more. so i do hope any work, three hands and six arms, will bring peace and harmony to our withhold world. thank you very much. [applause] >> all right. thank you. >> moving on from the hormone part of the program, this is usually the part where i talk about how incredible our mayor is when it comes to the arts, and it's true. no mayor has done as much to promote and protect the arts and the cultural life of this city as mayor newscom. you have all been gracious standing here in the sun waiting to get to the america. here is mayor newscom. >> thank you all. based on his comments, as far as i am concerned, he is an honorary citizen of san francisco. so thank you for your comments. thank you for the spirit that brought you here an

art scenes. and we invite everyone to participate and to see the unique art works that have been developed. >> to learn more, visit >> welcome to "culture wire." on this episode, we visit with one of the arts commissions very special teams. >> the asia-pacific island cultural center receives help from the census but our commission. john mean today to talk about in off festival is the executive director. welcome. i understand this is the 13th annual festival. can you tell me the name? >> the name is a celebratory name. we also celebrate what we call the asian-pacific islanders as well, in terms of culture, experience, and multidisciplinary arts. >> the festival is actually very wide-ranging. you have 16 venues, and how many different performing arts centers? >> we have over 85 artists participating, 16 venues, 21 events. there are over 15 groups that are performing. >> there recently kicked off at the beginning of may and will continue through june 13? correct? >> that is correct. unlike in the pa

it has always been involved in the arts from early on. of they have seen a lot of the art and what it has done to the neighborhoods. i think that they will still connected to it. they will actually embrace it. i think it will be a good thing for all of us. >> if you are walking in the tenderloin, you'll be able to see this piece that is in front of the original [inaudible] which is a restaurant that has a lot of history. there are exciting projects on market streets. there are two gorgeous minerals as well as six different installations. they are making huge figures that they will be able to see. >> there is a definite level of appropriateness of stuff i am using. a lot of businesses died in 2009. >> i think i'm trying to deal with the maximum out of space possible. that is surging right now. everyone is doing what they can with what they have. sometimes that introduces a lot of interesting things. there is nothing that inspires quite like this. >> the project benefits both the property owner, the neighborhood, and the artists, all of who

we have long thought to unite science with art. all of the creatures in movements and patterns and places are related. when she first visited to the loud and met with the people who talk about ideas, i can tell you by the end of that meeting, i went back to new york city and i had a committee of people going [inaudible] how can this come together? this is the beginning of a multi institution effort to get everyone in the world to be thinking about our responsibilities and opportunities using the personal experience that one gets up close and personal with these beautiful creatures. what a treat. congratulations. >> thank you. with the light, pleasure and a sense of getting this -- with delight and pleasure, i introduce maya lynn. >> thank you. i am curious about this because i've heard that if we don't get to this quickly, there will be a disco beat. the academy has been so helpful. to this san francisco parts commission, president johnson, the commissioners, thank you so much for your unwavering work. it is crazy that we ended up

first the members of the art advisory committee, bill wilson and mary [inaudible] and the arts commissionerlden gate music conkers advisory committee. -- concourse advisory committee. the former curator of the deyoung museum. can you imagine? this is fantastic. the academy scientists who work during the early design phase of this installation included [inaudible] carol tang, brian fisher, jack dunn blocker, [inaudible] i also want to acknowledge my predecessor who played such a seminal role in the design of the academy. he is now at the university of colorado. the director of the exhibit development who insured that the installation went off without a hitch just as he ensured that the entire academy moved to howard street and then moved back without one lost fish. of course, the arts commission in the city of san francisco. it is my pleasure to introduce this senior adviser to mayor gabonese som - -gavin newsom. >> i am here representing the mayor. he is anticipating the birth of his child which should come to any minute now. on behalf of the mayor, welcome to this dedication of the sculptu

sonia and art. this is an interesting body and you are in the midst -- sonia, you are in trouble, a lot of work in front of you. art is familiar with a lot of this as well. it is a split body. 15 members. eight have to be immigrants. seems appropriate on immigrant rights. i'm very proud. sonia from ireland -- excuse me, russia. that will be self-evident when you hear from her -- who is an old friend and sonia is a small business woman and someone who is very engaged and engaging and has a lot of opinions and she will be amply expressing them on the immigrant rights commission. and art as well. art is an up and coming leader of the city and i really am honored that art is going to get involved in the political process as a member of the immigrant rights commission. so, i'm excited about that. beverly, the library, so much has been said about beverly. i got more calls from people i respect and admire like luis, rene and others saying you have to get beverly on the commission. member of the friends of

yeah, we do very, very little for the arts.and even the $100 million-- money that goes to the national endowment for the arts in this country, only 10% of it goes to the support of individual creative artists. every time the national endowment gives out, what-- 5,000 grants-- maybe some joker in the congress can find one or two out of the 5,000 to object to. and of course, that gets held up as the destructiveness of the funding for the national endowment. there are some people in this country-- and the majority of them, it strikes me, are in congress-- who are desperately afraid of the effect of the arts on our culture. what's a bigger threat, though, government censorship or self-censorship? [sighs] i spent a lot of time going to the then-soviet union in the 1960s to learn more and more firsthand of what t was like to live in a totalitarian society. there are two kinds of censorship, aren't there? there's governmental censorship, censorship imposed upon us from without. and in a democracy-- and we're still a democracy, i think

his fascination for art grew when mr. rodriguez went on a second trip to mexico in 1956 bringing with him some of his paintings hoping to exhibit during his trip. he found the appropriate venue to display his art, but was faced with a problem, no frames for his paintings. ever resourceful, peter, and relying on his background in advertising and window display used black yarn to draw frames around the paintings. in the 1975 he opened up the museum to present the artistic expression of the mexican people regardless of their birth nation from the informed perspective of the people themselves. as a museum expanded, it began to attract the attention of a broad scope of individuals including art collectors, and, thus, began to form a permanent collection now consisting of over 14,000 pieces. as the collection grew, so did the number and scope of exhibitions presented to the public. the community has come together to nurture and vision building a resource for the arts and the cultures and a home for generations to come. peter's

your support of pbs brings the arts home. >>

this building is beautiful art.hose are architecture at the time when city hall was built, san francisco had an enormous french population. therefore building a palace in the art tradition is not unusual. >> jimmie was an incredible individual he knew that san francisco had to regain it's place in the world. he decided to have the tallest dome built in the united states. it's now stands 307 feet 6 inches from the ground 40 feet taller than the united states capital. >> you could spend days going around the building and finding something new. the embellishment, the carvings, it represents commerce, navigation, all of the things that san francisco is famous for. >> the wood you see in the board of supervisor's chambers is oak and all hand carved on site. interesting thing about the oak is there isn't anymore in the entire world. the floors in china was cleard and never replanted. if you look up at the seceiling you would believe that's hand kof carved out of wood and it is a cast plaster sealing and the only spanish d

as you know the african-american art and culture complex has gone through a major transition.went from a place that no one participates in programs and everything else to this absolutely gorgeous beautiful amazing facility i am proud to call my home and i have to say if it wasn't for one person in particular -- and i have a great staff and community that has always 17 supported me and there is one person that stands out and he deals with my tantrums and demands and he continues to work hard and bust his butt and the center would not look as beautiful if it wasn't for his work and today we honor earl hall. (applause). and his family is here and he didn't know they were going to be here. he didn't know he was going to get an award. (applause). and i got to tell you guys we are so blessed to have him in our community. he not only takes care of everything in the facility -- i mean from light fixtures to electricity to anything that you name in that facility he deals with, but he also takes care of our kids. and i am truly blessed to have him part of my staff at the african-america

but it's art. jenny was really a pioneer in doing the kind of text-based light art. so i would like to introduce -- jenny will be working in the light column in the railing on the mezzanine level, and i'd like to introduce her two studio managers who have been just a dream to work with. very responsive. very knowledgeable about technology and really great partners in this project. emily and david will present jenny holster's proposal. >> hello, thanks so much for having us. while jenny can't be here, she wanted us to express her enthusiasm for this project and how she's so thrilled to hopefully be participating in it. i'm going to be giving a background and emily will be giving the particulars of this project. hopefully by looking at some of jenny's older projects, it will help you and the public to see hopefully what she's trying to achieve here. kind of operative in all of jenny's work are three ideas, to be harmonious with the architecture and place in which they are. this is really facilitated with kelly clark pelley. also to use architecture that's usable, that

that's just the power of the arts. announcer: feed your kids the arts. for ten simple ways to learn how, visit americansforthearts.org >> good afternoon. i'm with the department of building inspection. we are approaching the sixth year of our brown bag lunch series here at the department of building inspection where we talk about topics related to construction in san francisco. we invite you to join us on the third thursday of every month here at the building department. we have an exciting lineup of shows this year. and one of them, today, is going to be really exciting because we have a terrific guest today. mr. woody labounty. >> thank you. >> woody is the founder of the outside lands? >> the western neighborhoods project. we'll talk more about that. >> excellent. and the author of a recently published book, which i have a copy of and it's really fascinating and wonderful. he's going to talk about "carville by the sea" today. we'll look at slides. he'll tell us about the history of the outerlands, previously uninhabitable area of the city. we will inv

so that this art form can continue to flourish in future generations. the programming at sfjazz reflects the needs of the community spiritually, economically and politically, politically meaning musically gifted children have not been given a chance at music education. this has been reserved for the elite. socially only certainly communities are allowed to participate in the music education process. music inspires the soul of the individual, the family and the community. the new sfjazz center is a necessity to keep the spirit and awareness of jazz alive for the people. a lot of us out there are still [inaudible] as a member of the all-stars, i fully appreciate the opportunity that is given to me from them. i see myself as someone who is willing to carry the torch of jazz to higher levels. i'm not sure if you're jazz enthusiasts, but there was a wonderful musician by the name of bobby hutchinson. like him, sfjazz is pumping life into today's generation of young musicians, so we can still be around to keep this art form alive. i appreciate your time. than