Jan 302013

1150 Carroll Avenue
Candlestick Park State Recreation Area

Candlestick Point Community Garden Mural

This mural is on the side of the Candlestick Park Rangers Office.  The area in front is the Candlestick Point Community Garden.

The theme of the mural, expressed through symbolism, shape and color shows the various stages of the gardening experience.  The mural 30′ x 100′, took four months to complete.  It was designed in 1982,  by five artists and graduate students from San Francisco State University.  Barbara Plant, Gary Mathews, Eric Graham, James Adams and Maria Gonzalez.

Rather than using the wall surface as a canvas to be covered, the artists incorporated the exposed pebble wall into the design and purposely left areas unpainted.

Candlestick Point Community Garden MuralThis photo is from the original dedication 

Candlestick Point State Recreation Area was the first California State Park unit developed to bring state park values into the urban setting. From historic wetlands to landfill to landscaped park, Candlestick Point demonstrates major land use changes of the San Francisco Bay. Its name is derived from 19th century locals who thought the burning of nearby abandoned sailing ships and their flaming masts in the bay resembled lighted candlesticks.

1150 Carroll Avenue, San Francisco


Nov 202012

Candlestick Park
Gate A
Jamestown Avenue

St Francis by Ruth Wakefield Cravath – 1971-1973

The sculpture is a standing abstract figure representing St. Francis, the patron saint of San Francisco. The figure is made of concrete, but the face, torso, halo, cross, and lower section of his robe are made of colored pieces of Plexiglas. The halo is gold; the face and torso are turquoise; the cross is red; and the lower section of the robe is gold. The sculpture is installed on a low base in the middle of the bus area at the stadium.

Ruth Wakefield Cravath is known for her civic sculptures, busts and bas-reliefs. She was born in Chicago, Illinois in 1902. Cravath attended public high school in Chicago and took summer classes at the Art Institute of Chicago. She went on to attend college at Grinnell, Iowa, for one year before returning to Chicago where she enrolled in drawing and design classes. Her parents moved to California in 1921 and Cravath followed soon after. She studied for the next three years at the California School of Fine Arts in San Francisco where she received praise for her student artwork. She learned sculpting techniques from Beniamino Bufano and Ralph Stackpole. By 1926 she was an established artist and was invited to conduct art classes of her own at the California School of Fine Arts. Her work was exhibited in the 1927 Annual Exhibit of the San Francisco Society of Women Artists. She married Sam Bell Wakefield III in 1928 and continued to teach sculpture at the CSFA and later at Mills College in Oakland in 1945. As a teacher and an artist she became famous for her use of the direct cut method of sculpting, carving and chiseling without mechanical assistance. She was an active exhibitor at the San Francisco Art Association between 1922 and 1932 and also exhibited at the California Palace of the Legion of Honor (1933) and the San Francisco Museum of Art (1937). In 1937 she was appointed to the board of the Art Commission of San Francisco. She was commissioned to do three large figures for the Golden Gate International Exposition in San Francisco in 1939. Cravath died  in Paulsbo, Washington in 1986.

Sadly you can not get into see the sculpture without a ticket.


With the demolition of Candlestick Park  the statue will be placed into storage, as city officials seek a new home for the artwork. It has been said that it will be moved from the ballpark and refurbished. The estimated cost of the project is expected to range from $150,000 to $200,000.  We will bring you the new location as soon as we learn.

Nov 042011
Candlestick Park
The Endangered Garden by Patricia Johanson
“Endangered Garden”, a linear park along San Francisco Bay was commissioned in 1987 by the San Francisco Arts Commission. As co-designer of the thirty million dollar “Sunnydale Facilities”, a pump station and holding tank for water and sewage, Patricia Johanson’s intent was to present this functional structure as a work of art and a productive landscape. Other goals included increasing food and habitat for wildlife, and providing maximum public access to San Francisco Bay. Tidal sculpture, butterfly meadow, habitat restoration, seating, and overlook are all incorporated into the image of the endangered San Francisco Garter Snake, as is a public access baywalk, thirty feet wide and one-third of a mile long that coincides with the roof of the new transport / storage sewer.
This portion is the head of the garter snake.  While it is hard to discern at this point, if you are on the freeway driving into the city from the airport, you know it is a snake.  The colors of the pavement represent  the colors of the garter snake.
“Ribbon Worm-Tide Pools”, is a small sculpture within the “body” of the snake.  It provides a path down to the marsh and mudflats of San Francisco Bay. The intention was for the  worm itself to be  in tangled masses among mussels and barnacles during high tide, but judging by the amount of trash in amongst it, that doesn’t happen very often.
Depressions in the pavement, modeled on California Indian petroglyphs, fill with rainwater for birds. Hundreds of prehistoric shell mounds once dotted the shores of San Francisco Bay, and this site was continuously occupied from around 1500 B.C. by Native Americans who fished in the bay, hunted waterfowl in the marshes, and foraged for shellfish along the mudflats. When excavated in 1910, many human burials and artifacts were recovered from a shell mound on this site, which today lies buried under twenty-five feet of “landfill”.