Compton’s Cafeteria

 Posted by on June 27, 2015
Jun 272015
 

Corner of Turk and Taylor
Tenderloin

Compton's Cafeteria Riot

Funny how a plaque can stop you and educate you about something you may have known nothing about, and at the exact same time leave out so very very much of the story.

If you were to hear about this event during those times you would have been told that in Gene Compton’s Cafeteria at the corner of Taylor and Turk Streets, in August 1966*, a person, described as a “queen” threw a cup of coffee in a police officers face.  The police began arresting “queens” and a riot broke out.  The riot included around 50 to 60 patrons, and an unnumbered amount of police.

*The exact date of the riot is unknown because 1960 police records no longer exist and the riot was not covered by newspapers.

Photo Courtesy of Shaping San Francisco and FoundSF

Photo Courtesy of Shaping San Francisco and FoundSF

While hard to believe in our more progressive times that it was unlawful to crossdress or impersonate a female in San Francisco in 1966. The harassment of “effeminate” gay males was prolific and since discrimination was so prevalent, often the only type of employment open to the transexual, drag performing and “gay” population was prostitution.   The one thing that has not changed was that the tenderloin was a place to ply your trade.

Another thing that has not changed is Glide Memorial’s open heart and helping hand to the situation.  Glide began a program titled Vanguard to help trans and gay youth improve their living situations. Vanguard had been holding their meetings at Gene Compton’s Cafeteria.

To continue the story in the words of Susan Stryker, author of Screaming Queen:

“Late one August night in San Francisco in 1966, Compton’s Cafeteria was hopping with its usual assortment of transgender people, young street hustlers, and other down-and-out regulars who found refuge there from the mean streets of the seedy Tenderloin neighborhood. The restaurant’s management, annoyed by a noisy crowd at one table that seemed be spending a lot of time without spending a lot of money, called the police—as they had been doing with increasing frequency throughout the summer. A surly cop, accustomed to manhandling Compton’s clientele, grabbed the arm of one of the queens.

She responded unexpectedly and threw her coffee in his face. Mayhem erupted: plates, trays, cups, and silverware flew threw the air at the police, who ran outside and called for backup. Tables were turned over, windows were smashed, and Compton’s queer customers poured out of the restaurant and into the night. The paddy wagons pulled up, and street fighting broke out in Compton’s vicinity, all around the corner of Turk and Taylor. Drag queens beat the police with their heavy purses, and kicked them with their high-heeled shoes. A police car was vandalized, a newspaper stand was burned to the ground, and—in the words of the best available source on what happened that night—“general havoc was raised in the Tenderloin.”

According to Strykers’s Screaming Queens the next night, more transgender people, hustlers, Tenderloin street people, and other members of the LGBT community joined in a picket of the cafeteria, which would not allow transgender people back in. The demonstration ended with the newly installed plate-glass windows being smashed again.

All of this was three years before Stonewall.

If you would like to explore further, Susan Stryker’s documentary is titled Screaming Queens .  The fascinating story, by the author and filmmaker, about how the movie came about, can be read here. 

The building today 2015

The building today 2015

The building itself has a wonderful history as well.  It was designed by architect Abraham M. Edelman and built in 1907.  At that time it was the 115 room with 50 baths Hotel Hyland.  It became the Hotel Young in 1908, The Hotel Empire in 1911 the Chapin Hotel in 1920, the Hotel Raford in 1923 the Tyland Hotel and then the Warfield Hotel in 1982 it is now the Taylor Street Apartments.

Abraham (or Abram) M. Edleman (August 19, 1863) was the son of a Polish-born American rabbi living in Los Angeles.  While most prolific in Los Angeles, with many buildings on the National Historic Register, he often worked in partnership with firms in San Francisco.

Edelman began his own practice in Los Angeles in the 1880s; he became a member of the Southern California Chapter of the American Institute of Architects in 1902 and remained a member until 1941.

Edelman’s education came from having worked as an apprentice for various architects in San Francisco, which most likely is how his name became attached to this particular building.

 

 

 

A Peacock Awes the Tenderloin

 Posted by on May 20, 2013
May 202013
 

Geary and Leavenworth
The Tenderloin

Peacock on Leavenworth

This phenomenal peacock is by Satyr-1, who has been in this website many times. Satyr-1 is a professional artist who has long since left the ideas of “tagging” behind for commissioned projects in defined spaces with the support of building owners.  His work made a difficult transition, but it mirrors the challenges faced by many other artists in todays street art culture.

Peacock by Satyr on Leavenworth

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Peacock mural on Leavenworth

Sand One comes to San Francisco

 Posted by on April 29, 2013
Apr 292013
 

Leavenworth and Turk
The Tenderloin

Any Man's Land by Sand One

This mural is titled Any Man’s Land and is by Sand One.  The name seems especially appropriate to me as there was a crack deal going on as I was taking this photo.  The street corner really is Any man’s land.

According to Sand One’s Facebook page, she is a Street artist based out of Los Angeles California,influenced by the L.A chicano culture Sand characters come with lots of attitude flavor and funk!

This is straight from a great interview she did with the LAist:

At 19 years old, Sand One has put her art up all over the city, from walls in East L.A. to galleries in Hollywood. She’s at the forefront of a small but growing group of young female street artists who are breaking down expectations about what has long been considered a male-dominated field.

A self-described “little five-foot girl in heels,” Sand is blazing this particular trail with style and humor, in addition to a healthy dose of chutzpah. She chatted with us about her work, her goals and why we shouldn’t call what she does graffiti.

LAist: What’s your signature style? 
Sand One: I do cartoon-y females with attitude and swag, painted huge on walls, trucks, corn carts and mobiles. They have big, eccentric eyelashes and fruity colors, and lots of L.A.-influenced tattoos, like three dots that signify “my crazy life,” an L.A. logo, the number 13, penitentiary-influenced tattoos and anything that reminds me of my “Lost Angeles” culture.

My style embodies the female of today, the thug girl in me, and the teenager in all of us, discovering her city horizons, body and joys.

LAist: How did you get started doing graffiti?
SO: I do art on the streets. Maybe it looks like graffiti, but it’s not. My art form can be classified as chick urban street art.

I’ve been seriously invading walls, trucks, and galleries for three years now. It’s a lonely sport, but I love doing it. I love the powerful feeling and the satisfaction that I get after painting a mural that’s three times larger than five-foot me, with my own little hands, some paint, an idea and an extendable ladder.

LAist: So, I clearly made a mistake in calling your art graffiti – can you explain how it’s different?
SO: Don’t get me beat up! It’s almost the same thing, but the fact that I don’t go out at night and jump bridges or run into freeways is what makes what I do different. Graffiti has lots of letter styles, and it involves this sexy danger. My art has this clean and nice image — graffiti isn’t supposed to be nice, it’s rugged and hardcore.

Street art is the artsy side of it, the nice side of it, the gallery, the limelight. It’s not as hardcore. Raise your glasses to both forms, they’re the best forms of art at the moment here in Los Angeles.

LAist: Is it harder for female artists to make a name for themselves in street art and graffiti?
SO: You have to have thick skin to be in this world where it’s male-dominated, and they feel threatened by your presence. A lot of guys see me in my heels, painting girls and cartoons, and they get angry. They try to get crazy with me, even try to take my paint away, but it’s cool — I’m hood so I let them have it!

Once, I was at an art exhibit on Fairfax and Melrose and I was drawing on people’s blackbooks (sketch books). This guy who’s an L.A. graffiti vandal walks up and sees it’s me, and suddenly he’s so angry! He says, “So it’s you, you’ve been doing cartoons all over the city. I have no respect for legal graffiti.”

I’m like, oh my gosh, he’s gonna punch me…but so what? I’ll take a punch for my Sand Chikz (just punch me in the stomach please, not the face). He’s like, “I have three daughters and sisters so I respect what you do, but I’ve never made a cent off what I do, I believe that graffiti should stay illegal. I’ll never fucking paint a wall with you.”

That was the joke of my night, but still I admire it — that he had the nerve to walk up into a crowd and attempt to shatter my passion for art.

LAist: Do you ever get scared?
SO: I wasn’t scared. It’s the lifestyle that I want to live, and I want to experience everything that comes with this world. It’s not boring; it’s exciting. I’ve done trains and other underground stuff, but I’d rather put art on a corn cart or a meat market and give back to the neighborhoods. It’s just a different way of doing things.

And my girls, they’re cute! They’re supposed to bring happiness, and make other girls understand that there’s street art for us to enjoy.

LAist: What inspires you about L.A.?
SO: I love L.A. I listen to Too Short, Tupac and Snoop Dogg a lot, so it keeps my gangsta swagger and hustle on point. It’s so much of everything in L.A. — too many taco stands, too many girls, way too many bums, not a lot of men and tons of greatly skilled artists. So that significantly motivates me to hit the ground harder and seek opportunities instead of waiting for them to arrive in the mail.

L.A. changes you; it’s competitive. I originate from the heart, East L.A, where the freaks come out at night and ambition runs low. I consider myself a hustler, a little Mexican gangster, and the fact that I was born and raised here in L.A. made me who I am.

LAist: You’ve had your work shown in galleries, you’re well known in the street art community, and you’ve collaborated with clothing companies — and you’re only 19. Where do you want to go with your art and your career? 
SO: Well, I would like to one day get off EBT so I don’t have to pimp the government, and get rid of having a baby sitter that follows me everywhere — I’m grown! Just kidding. I’m not sure. I just enjoy painting. It makes me so happy every time I paint a new mural, join a new art exhibit or travel to a different city or country and leave my mark. I’m proud to come from nothing, and to have slowly begun build something that’s made heads turn.

I’m very focused on my aspirations; I want to be a great artist. I aim for perfection. I don’t go to school to perfect my craft, I take it to the streets. I’m not afraid of criticism or of not being accepted. I enjoy painting huge cartoons with cheesy smiles all over the streets. It keeps me sane. The streets are my canvas, sketchbook, diary.

LAist: What do you like about the street art scene right now?
SO: There’s a lot of positive stuff. I’m happy to be a part of the new up-and-coming street artist culture. I know our art is very different and some of the elders have a hard time accepting it, but so far I’ve been very welcomed.

In regards to females, they’re very distinct and limited, so big ups to the women out there that are truly getting their asses up and running around the streets making their presence felt. This is a man’s world. But it wouldn’t be nothing without a badass L.A. woman.

LAist: What are you working on now?
SO: I’m doing a mural in the Culver City arts district. I was trying to get this very famous underground graffiti artist, MQ, to agree for over a year, and finally I got him to paint with me. He was very open-minded to working with me and painting a huge wall. It’s been two weeks that we’ve been doing this. The wall is very cool, it’s me coming together stylistically with someone old school that I look up to for having been around the graffiti world for so long, and making a name for himself by systematically painting what he loved and believed in. MQ you are awesome!

LAist: Do you still live in L.A.? 
SO: I’m still in East Los Angeles. I’ve been exploring different countries and cities as well, but I always end up coming right back to the place I know: home, with my mama and my little brother and sister, and all the awesomely delicious daily leftover food that my mother brings me (she has a Mexican/American lunch truck).

I’m here to live the one life I was given and run around town painting pretty girls with cheesy smiles, long eyelashes and a meaning behind them, empowering today’s L.A woman. My motto is “stay hungry, never full.”

Sand One

 

On a personal note.  Anyone that writes on a daily basis about street art has friends and family that find things for them.  My husband found this and drove me there so I would be safe and since he had no idea where it was he couldn’t give me directions.  He took me there in January,  just a few days before he suddenly passed away.  This mural will always bring tears to my eyes, and yet it was a great outing so I have great memories.  Thank you Michael and thank you to all those friends and families that support us writers out there.

Honoring San Francisco Vets

 Posted by on November 11, 2012
Nov 112012
 
Tenderloin
Shannon Alley
between Geary and O’Farrell
These murals were done in 2011 around Veterans Day.  They are part of the SF Vets Mural Project.  According to their website: The alley will contain murals painted by veterans which will tell their story.  The significance of this alley is that the art regarding veterans is very often done by artists that are not veterans.  This alley will give veterans a permanent voice and presence within the community.  The SF veterans alley will work with all veterans regardless of discharge status, gender, sexual orientation, theater of conflict or time period served.  Any veteran worldwide will have an opportunity to propose and paint their own mural in this alley.
Apparently this alley was chosen because it was where vets come to shoot up.
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This mural is titled “Torn Constitution”  It is by Randy L. Figures  USS San Jacinto Desert Storm Crew.

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This mural, titled Wage Slave was done by Bryon Parker and LN, KS and DM.

And the lucky few go home by Reuben Santos
At dusk he stood
highlighted as he dragged his cigarette
smoke and ash swayed
thunder flash white
a protective arm cradled his head
he got up, stunned and staggered
and ran way
“Medic” was all he yelled
we are away
as he screams
we checked machine guns
rotated turrets
and looked for signs from our attacker
I am away
away on a Mission
in the compound
run to aid the fallen
and he screamed
the medics cut his clothes
they pick shards from his back
each pick a wince
dust cleared,
and only one was not standing
two medics on either side of him
they sway with his sway
as his back is draped in a red cape
and I watched
and I watch perched
and everything slips away

The last panel reads:
Veterans are the light at the tip of the candle, illuminating the way for the whole nation.  If Veterans can achieve awareness, transformation, understanding and peace, they can share with the rest of society the realities of war.  And they can teach us how to make peace with ourselves and each other, so we never have to use violence to resolve conflicts again.   Thicht Nhat Hanh

The local television station ran a great program about this area, if you would like to view that you can click here.

 

The Great White Way

 Posted by on November 9, 2012
Nov 092012
 

My interest in the revitalization of Market Street came about when I wrote this piece for Untapped Cities about the Hibernia Bank Building.

A friend who has a wonderful website about the architecture of  Mid Market and other areas of San Francisco, titled Up From The Deep, introduced me to this project, and I feel so passionately about it and its success that I would like everyone to take the time to view the video, go to the website, and please, if you can, donate to the cause.

 

This is the purpose of the project

“In San Francisco, an unusual coalition of artists, city officials, property owners and residents is working together to reverse a 50 year decline of the once “Great White Way of San Francisco”. While many cities have attempted to revitalize neighborhoods through the convergence of arts and technology, few have been successful at doing so while preserving their unique cultures.

Will this revitalization unwittingly open the door to gentrification and displace the current low-income residents? Will the reality of pricing people out defeat the promise of lifting people up? Can political and ideological enemies put aside past differences and work together to make real change? Our film, 5 Blocks, is a journey through the trials and tribulations of a community struggling to transform itself from “skid row” to the promise and hope of a vibrant neighborhood.

As artists, we are keenly interested in the role that arts can make in transforming lives. This project follows a large-scale attempt to use the arts to transform an entire neighborhood, an ambitious and daunting task. This may be a “once in a lifetime” opportunity to revitalize this gritty neighborhood and, therefore, to document the process. The lessons learned, whether through success or failure, can serve as a model for other communities across the globe.

Through the process, we share the stories of the people who currently live and work in the neighborhood, people whose voices aren’t usually part of high-level conversations concerning their fate. It is vital to capture this story now, during the messy, difficult discussions about change, and while tentative first steps are taken.”

Artists that are participating in this project are:

Patricia Araujo.  Araujo has been familiar with SoMa, since she’s been painting San Francisco’s central city architecture for over a decade, addressing the themes of urban growth and decay. Her work has been collected in two books “SOMA Rising” and her latest “The City from SOMA Grand” which is the feature of a current exhibit at SOMA Grand that is running through December 15th.

Ronnie Goodman. After a 10-year sentence for first-degree burglary at San Quentin State Prison, Goodman, 51, came back to San Francisco, where he’d grown up, and found his way to Central City Hospitality House, which offers art programs for the poor and afflicted. His block prints have been displayed in galleries around town.

Mark Ellinger. Is my friend and an amazing photographer of the slowly dying architecture that made this city great.

Wendy MacNaughton. Wendy’s home town is San Francisco. She’s written advertising copy, designed humanitarian campaigns in Kenya and Rwanda, produced a film in The Democratic Republic Congo, sold used books, counseled survivors of torture, served as a social worker and non-profit advertising campaign director. She created and illustrated the national campaign for the first democratic elections in Rwanda.Wendy received degrees in art and social work from Art Center College of Design and Columbia University, respectively.

 

 

Herakut and Rusk Paint the Tenderloin

 Posted by on August 16, 2012
Aug 162012
 
The Tenderloin / Polk Gulch
Hemlock and Polk
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The area under this fire escape in Hemlock Alley has been the home to many worldwide known graffiti artists. Roa was featured here not too long ago.

This piece is by Arkut, Hera (who often paint as Herakut) and Rusk, all from Germany.

HERA, 27 years of age, born in Frankfurt, is looking back on a straight and classic art education with taking lessons from old weirdo artists, starting from when she was eight. That plus her never-ending years of studying Graphic Design account for her preferences today: she says, she would rather paint in the rain than do work at a desk. Even though that kind of weather might get you sick and makes it hard to foresee the final result of your piece because it keeps washing all pigments off the wall – it is still better than doing some tedious office work.

AKUT, 31 years, decided to take a ride when the graffiti wave reached his hometown Schmalkalden. Together with CASE, TASSO and RUSK, he formed the MA’CLAIM Crew, which is nowadays worldwide renowned for their photorealistic style in graffiti. AKUT studied Visual Communications at the Bauhaus University in Weimar.

RUSK is from Berlin.

MA’CLAIM has a wonderful blog if you are interested in seeing other works.

Stylefile interviewed Arkut and Hera, the interview is very enlightening and what I found interesting is that Hera mentioned that she was especially fond of Os Gemeos, whose work you can see here.

Mural Projects in the Tenderloin

 Posted by on July 23, 2012
Jul 232012
 
The Tenderloin
126 Hyde Street
 This group was shot on May 6, 2012
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True Compassion by Evan Bissell

This temporary mural was created through twelve workshops with local artists about the nature of compassion. The double portraits depict the artists interacting with themselves in a compassionate gesture of their choosing. The portraits will be left untreated and then washed away before a new one is painted each Thursday in chalk pastel by the artist Evan Bissell.

The participants of the workshop painted the medallions that frame the installation. The symbols contrast with the background drawings that represent challenges to our ability to be compassionate on a personal level as as a society.

The mural is made possible by the Intersection for the Arts, Larkin Street Youth Services and the Tenderloin Housing Clinic.

Bissell is a 2005 graduate of Wesleyan University with a double major in Painting and American Studies with an Ethnic Studies concentration. He was trained in 2011 as a circle keeper by Sujatha Baliga.

Sujatha Baliga’s work is characterized by an equal dedication to victims and persons accused of crime. Sujatha has worked extensively with victims of domestic violence and child sexual abuse as an advocate and board member for rape crisis centers and domestic violence shelters. The convergence of Sujatha’s interest in Tibetan ideals of justice and her work with women accused of killing their abusers drew her to law school and ultimately, criminal defense work. After several years as an appellate public defender in New Mexico and at the Office of the Appellate Defender in New York City, Sujatha relocated to California in 2006 to work on capital cases.

Mitchell Brothers Theater Mural

 Posted by on July 21, 2012
Jul 212012
 
Corner of O’Farrell and Polk
The Tenderloin
This sweet and rather innocuous mural is on the side of Mitchell Brothers Theater. The Mitchell Brothers O’Farrell Theatre is an adult club, opened as an X-rated movie theater by Jim and Artie Mitchell on July 4, 1969, the O’Farrell remains one of America’s oldest and most notorious adult-entertainment establishments; by 1980, the nightspot had become a major force in popularizing close-contact lap dancing, which would become the norm in striptease clubs nationwide. The late journalist Hunter S. Thompson, a longtime friend of the Mitchells and frequent visitor at the club, claimed to be its night manager in 1985. He called the O’Farrell “the Carnegie Hall of public sex in America” and Playboy magazine praised it as “the place to go in San Francisco!”

The Mitchell brothers opened the O’Farrell as an adult cinema on the site of a former two-story Pontiac car dealership. Upstairs they produced and directed the pornographic films they showed downstairs.

In February 1991, the theater entered the news after Jim Mitchell fatally shot Artie. Michael Kennedy defended Jim Mitchell and convinced the jury that Jim killed Artie because the latter was psychotic from drugs and had become dangerous. Jim Mitchell was sentenced to six years in prison for voluntary manslaughter and released from San Quentin in 1997, after having served half his sentence.

This original mural was painted in 1977 (Lou Silva with Ed Monroe, Daniel Burgevin, Todd Stanton, and Gary William Graham), 1983 (Lou Silva-solo), and 1990 by Lou Silva with the assistance of Joanne Maxwell Wittenbrook, Ed Monroe, Mark Nathan Clark, and Juan “Blackwolf” Karlos.

Notable visitors, while the murals were in progress, included: Melvin Belli, Marilyn Chambers, Paul Kantner of Jefferson Starship, Japanese film star Toshiro Mifune, Huey P. Newton, Hunter S. Thompson, and American actress Edy Williams.

The murals were sponsored in their entirety by Jim and Artie Mitchell.

The mural was repainted in April/May of 2012. This time the artists were John Wentz, Matt Robertson, Mike Poland, Lindsey Millikan, Craig Gillooly, Hana Ihaya, Jaqueline Moore, Janet Song, Wythe Bowarty, Karina Svalya, Emilio Villalba, Maurice Sampson, Jeremy Eaton and Joevic Yeban.

 

 

 

 

 

 

Qi Lun in Little Saigon, San Francisco

 Posted by on July 20, 2012
Jul 202012
 
Little Saigon
The Tenderloin
Qi Lun by Walter Wong – Marble and Granite 2008

These dragons mark the entrance to a two-block corridor of Larkin Street between Eddy and O’Farrell officially declared Little Saigon in 2004.

There are about 250 Vietnamese American-owned businesses in the Tenderloin and eighty percent of the
businesses on the two blocks of Larkin are owned by Vietnamese Americans

The two granite and marble pillars serve as a symbol of peace, happiness and safety for the Vietnamese that have settled here. Most were refugees fleeing persecution by the Communist government after the 1975 war.

Designed by Walter Wong, the pillars weigh eight tons each and are topped by statues of Qi Lun, mythical creatures that are said to bring peace and prosperity.

“Some people wanted our symbol to be a boat to reflect the refugee experience, but this is a business district,” said Tuongvi Tran, who worked with the project for three years and is the executive director of the Vietnamese Elderly Mutual Assistance Association of San Francisco. “The Qi Lun will bring luck and help (the district) grow.”

The project, which took six years to coordinate, was challenged by an initially nonexistent budget. It was only after the Clean City Coalition granted $76,000 of the $108,000 needed for construction to begin that the ball got rolling. Community fundraising covered the rest of the expenses.

 

 

Jul 162012
 
The Tenderloin/Polk Gulch
Austin at Polk
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American Indian Occupation by Jaque Fragua and Spencer Keaton Cunningham
Jaque Fragua is an acclaimed multi-media artist from New Mexico. From his cultural background, he has developed a yearning for creativity and for the intrinsic process that is Art. Experimenting with various mediums, such as aerosol, found-objects, earthworks, poetry, & music, messages of civil unrest, social justice, emotional introspection, and personal healing have heartened his unique perspective on life through art. Fragua has studied at the Institute of American Indian Arts, and in turn, has taught many community-based workshops, such as mural projects/public-art studies, and studio classes for figure drawing & painting. Fragua has worked with fine establishments such as Smithsonian National Museum of the American Indian, Institute of American Indian Arts, & Museum of Indian Arts & Culture to produce progressive/innovative exhibits concerning the plight of Native America.
Spencer Keeton Cunningham (Nez Perce) is originally from Portland, Oregon and along with drawing and painting, he shoots experimental and documentary films. He graduated from SFAI with a BFA in Printmaking in May 2010. Spencer currently works at White Walls Gallery in Central San Francisco. Since 2010, Spencer has shown his prints and drawings internationally in Canada, and most recently Japan, all the while collaborating with Internationally recognized artists as ROA and Ben Eine.

San Francisco – Hugh Leeman

 Posted by on May 7, 2012
May 072012
 
All Over Town

Hugh Leeman is an amazing individual.  This is taken directly from an article in The Bold Italic.

“His tiny studio is a mess of paints, a collection of floor-to-ceiling portraits, and a charcoal-covered MacBook. With no kitchen or bed in sight, I get the sense he’s focused solely on his mission: photographing, painting, and wheat-pasting the faces of the Tenderloin up around the city. They’ve become his friends, his subjects, and his business partners.

Hugh is quite a character himself. At 18, he grabbed his backpack and traveled the world, hopping trains to see as much as he could. Three years later, he was in the Tenderloin for a six-month stopover. He’s not quite sure why he never left. Inspired by the work that Shepard Fairey and others were doing at the time with wallpaper glue from the hardware store, a world of possibilities exploded in his mind. This self-taught artist had found his medium.”

If you are interested in reading more about the people that Hugh Leeman paints the article is fascinating. Or even easier, watch the video.


Hugh Leeman from Agency Charlie on Vimeo.

 

The Tenderloin – Boeddecker Park

 Posted by on May 4, 2012
May 042012
 
The Tenderloin
Boeddecker Park
Eddy and Jones
Untitled by Anthony J. Smith

This abstract sculpture is a sphere held up by a pair of large hands. Set in niches around the surface of the sphere are fourteen life masks of people who live in the Tenderloin district of San Francisco. The artist’s face and the face of Father Boedekker are also included in the sculpture. The bronze sculpture stands on a low, circular concrete base.

This photo was taken through a fence. Boeddeker park is in one of the most crime ridden areas of San Francisco. The park is not open on the weekends and has very limited hours during the week. There are 3 other sculptures in the park

Father Boeddeker was a Franciscan Priest that started St. Anthony’s Dining Room nearby.

This piece is owned by the San Francisco Arts Commission. It cost $20,000 and was dedicated on the first anniversary of the park: May 16, 1986.

UPDATE 2013 – As of July the park has been completely razed. A new park design addresses community concerns, including improved safety, active and passive recreation opportunities for all ages, and beautification elements. The renovation will replace aging play equipment that is inaccessible and noncompliant with the Americans with Disability Act, a clubhouse with significant visibility issues, and a major lack of green space. The new park will also feature a full-size basketball court, play area, fitness equipment, new large lawn, seating areas, gardening beds and a brand new clubhouse.

Construction is expected to last approximately 18 months.

As I find word of what is to happen to the art I will keep this site updated.

The Tenderloin – Safe Passage

 Posted by on March 29, 2012
Mar 292012
 
The Tenderloin

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On Martin Luther King, Jr. Day, Chinatown Community Development Center teamed with community partners to paint a sidewalk mural, part of the “Safe Passage” project, in the Tenderloin neighborhood.

“Safe Passage,” a two-part project that began in 2008, encourages community participation and effort to help improve street safety for children, and maintain a harmonious environment for all Tenderloin residents.

The 11-block street mural of a bright yellow brick road provides children with visual guides around the neighborhood so they can walk safely to their schools, afterschool programs and homes without getting lost. The mural covers the streets from Ellis Street to Golden Gate Avenue between Leavenworth Street and Jones Street, and Ellis Street between Leavenworth Street and Hyde Street.

In addition, residents and merchants along the mural will form a volunteer network to supervise the children’s safety, and prevent them from drug exposures, gangster activities and pedestrian safety problems. Youth from the Tenderloin Club Keystone will also help escort children from schools and educate them to recognize the mural as a community guide to their destinations.

The Tenderloin – Our Future!

 Posted by on February 13, 2012
Feb 132012
 
The Tenderloin

This was done by Laserpunch and RattleCan Blasters.  They were joined by  team co-captain – and avid artist -Vernon Davis who added his creative touch  The mural is part of  the San Francisco Arts Commission’s StreetSmARTs program. The StreetSmARTS program is a joint initiative of the San Francisco Arts Commission and the Department of Public Work that connects established urban artists with private property owners to create vibrant art in an effort to curb graffiti vandalism.

Laserpunch and the Rattlecan Blasters consists of 2 graffiti artists, Camer1 from San Francisco, CA and Fasm from Modesto, CA. The Duo teams up frequently to paint church youth rooms and do art shows. We’ve traveled to several states to use our rattlecan skills on commissioned murals. ”

49er tight end, Vernon Davis took an introductory painting class his sophomore year at the University of Maryland where he rediscovered his creative side. He switched his major from criminal justice to studio art, trying his hand at artforms ranging from drawing to sculpture. 2011 marked  the second year of the Vernon Davis Visual Arts Scholarship providing tuition support to a San Francisco youth interested in pursuing a career in the visual arts.

“I use art as therapy right now,” he said, encouraging the youth to do the same. “Art takes my mind away from football. Sometimes it helps to put your focus somewhere else.” (SF Gate 5/20/11)

The Tenderloin – 191 Golden Gate – Mural

 Posted by on February 6, 2012
Feb 062012
 
The Tenderloin
191 Golden Gate Avenue
The corner of the mural reads:
“The Gifts you take are equal to the gifts you make.” 2009 Precita Eyes Muralists
Funded by Community Challenge Grants Program and San Francisco Clean City Coaliton
Special Thanks to Tenderloin Community Benefit District, Tenderloin Health, San Franciso Arts Commission.

Precita Eyes Website had this to say about the mural –

“The Gift You Take is Equal to the Gift You Make” celebrates the gifts that the community brings and receives in the Tenderloin neighborhood including diversity, varied backgrounds, and rich cultural heritages and experiences. The “SS New Tenderloin” breaches the turbulent ocean and arrives from distant lands, bringing the various people who will make the neighborhood their home. As the children leave the ship, they join others, and grab the rope (a common Tenderloin practice) to traverse the streets. They head for “National Family Night Out”, a scene of fun, art and entertainment for all. As they cross the space, they approach neighborhood landmarks such as the Hibernia Bank, and the Cadillac Hotel with its portrait of community leaders, Kathy and Leroy Looper.

At National Family Night Out in the Tenderloin, children’s art is everywhere, and its spirit carries over to the classroom. In the school room our heroes, the teachers encourage and guide children of all ethnicities. In the background, the roses signify the color and added life that will come by adding more gardens and greenery to the neighborhood. The Black Hawk Jazz Club is a tribute to the past and the musicians are a nod to the current efforts to revitalize the music and art in the neighborhood.

The mural also honors the gifts that the community receives, and shows the residents, workers and activists breaking the chains of containment to demonstrate for the needs of the neighborhood. In this Tenderloin, there are health services, affordable housing (such as the Essex Hotel), work opportunities, a clean and safe environment, interactions among neighbors, services offered to all, and “Community not Containment”. All of these gifts become available as the sun shines in the Tenderloin.

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The Tenderloin – Police Department

 Posted by on February 3, 2012
Feb 032012
 
The Tenderloin
San Francisco Police Department
301 Eddy Street
 First Person Plural by Anders Barth  Fired Clay Glaze

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(Lenda) Anders Barth has another piece of ceramic work on the Richmond District fire department.

First Person Plural is an 8 x 24 foot, hand-carved and glazed tile mural on the Jones Street wall of the Tenderloin Police Station. The entire mural is comprised of 188 large tiles and numerous, smaller brick forms. Silhouettes of thirty-five people of different ages and races are depicted at work and play. Interspersed between them are animals typically found in the Tenderloin neighborhood—cats, dogs, pigeons and seagulls. The whole is framed by a formal border of gray tile in a repeated pattern of the ‘eternal wave’. Bisecting the rectangle is a column of unglazed red bricks. Some of the bricks have a smooth surfaces, while others are imprinted with different personal pronouns representing the range of ways in which people define themselves—I, we, me, you, us, them, etc…. At the base and top of the column are deep blue tiles filled with white stars. The four corners of the mural are highlighted with tiles containing the familiar 7-pointed star of the Police badge set against a field of blue.

According to artist Anders Barth, “First Person Plural” refers to the interconnectedness of the people and animals that live, work, walk and travel through the Tenderloin every day. Each component of the mural seeks to directly or symbolically celebrate the individuals and community that define the Tenderloin. The details of the carved relief figures capture personal gestures and specific activities like playing ball, walking arm-in arm, shopping, dancing, etc. Each figure is recognizable as an individual while simultaneously serving as a universal type in which we can see ourselves. Only one figure is based on a real person, a neighborhood and Task Force icon, the late Police Sergeant Kenny Sugrue. He is depicted in uniform riding his bike in the lower left-hand corner of the mural.

Anders Barth spent considerable time in the Tenderloin, observing and talking to people. As an outsider, she sought to identify a defining characteristic for this culturally eclectic and rapidly changing neighborhood. She decided that the people themselves, in their great variety, were its most recognizable asset. Each person has a relationship to the others that can be described by a pairing of pronouns: I-Them, She-He, We-You. Each person is part of the whole, and is needed to make the whole, just as many bricks are needed to make a wall, and stars make up the sky.

The motifs found in the mural are drawn from the surrounding architecture of the Tenderloin. The red brick creates an aesthetic link to nearby Father Boeddeker Park. The geometric pattern of the ‘eternal wave’, symbolizing the ebb and flow of life, can be found on several buildings in the area, most notably at the first home of the Tenderloin Police Task Force, the Hibernia Bank building on Jones Street. (Now an abandoned building)

The art at Tenderloin Police Station was commissioned by the San Francisco Arts Commission for the San Francisco Police Department. The commission is a result of the city’s percent for art ordinance, which provides for an art allocation of 2% of the cost of construction of new or renovated city structures.

The Tenderloin – Trolleys

 Posted by on February 1, 2012
Feb 012012
 
The Tenderloin
Bush and Polk
1399 Bush Street
 Trolleys by Bruce Hasson

This artwork includes 56 cast aluminum balustrades and a balcony. Four designs based on the human form and images from transportation, interspersed on the top three floors of the garage.  These pieces are part of the San Francisco Arts Commission Collection.

Bruce Hasson lives and works in San Francisco.  He draws inspiration from his studies around the world, and is especially influenced by the Etruscan art in Tuscany and Southern Italy, the Egyptian and Assyrian art collections of the British Museum, the Inca art of Peru and the Mayan art of the Yucatan. “A sense of continuity, a connection to ancient and Renaissance art as well as to the modernist tradition appears in the art of Bruce Hasson,” comments art curator Peter Selz.

Hasson was born in 1954 in Los Angeles. He lives and works in the Bay Area, though he often travels to Italy and Latin America where many of his works have been created. He was educated at the University of California, Santa Cruz and the Academia di Belli Arti in Florence, where he received traditional training in figurative art and to the academy in Carrara where he studied sculpture, which was to become his vocation.

 

 

The Tenderloin – Louder, Harder,

 Posted by on January 29, 2012
Jan 292012
 
The Tenderloin
259 Myrtle Street
 Louder Harder by Ben Eine

Ben Flynn, a.k.a. EINE, shot to international fame when David Cameron presented one of his works to President Obama as a gift on his first official state visit, but is arguably more famous for ‘Alphabet Street’ – the shutters and murals he painted in his trademark colours and typography in Middlesex Street, London– described by The Times as “a street now internationally recognized as a living piece of art with direct links to The White House.” Ben Eine has been in this site before, a recent interesting interview with him that you can read here.

Ben Eine’s work is nothing but the letters, Louder, Harder, all other work was added by others later.

 

TheTenderloin – Fern Alley

 Posted by on January 28, 2012
Jan 282012
 
100 Block of Fern Street
The Tenderloin
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Dray has been in this site before, and is a really terrific guy.  In researching this piece I found a lovely article about him from his days in Las Vegas.
Dray did this mural pro bono in hopes that the alley would attract more muralists.  Fern Alley is a part of a recently launched quarterly art walk called LoPo (Lower Polk) Art Walk. The alley is blocked off and artists display their art right there in the alley. All of the local galleries participate as well as some merchants.

If you are interested in the LoPo Art Walk you can follow them on Facebook.

The Tenderloin – Flores del Tehuan-derloin

 Posted by on January 23, 2012
Jan 232012
 
The Tenderloin
Larkin and Cedar

This is “Flores del Tehuan-derloin” by Jet Martínez. The mural was commissioned by the SF Arts Commission project StreetSmARTS.   It is done in the style of embroidery created by the Tehuanan women of Oaxaca, Mexico.

This is what Jet said on his Facebook page about the work:

A mural based on Oaxacan embroidery designs. These patterns were assimilated by the Oaxacans from Chinese silk embroidery popular with the Spanish rulers of the time. Currently, some of the most beautiful textiles of the type are being made by the “muxeres” ( Transvestite men) in Juchitan.
If you know anything about the tenderloin, there are strong Oaxacan, Chinese and Trannie populations there. My hope was to give appreciation not only to the art of emboidery, but to how folk art unifies seemingly different cultures.

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Jet Martinez has several murals around San Francisco.

This project was sponsored in part by SFAC StreetSmArts program.

The Tenderloin – Zombie Michael

 Posted by on January 5, 2012
Jan 052012
 
The Tenderloin
Hemlock Street at Polk
Zombie Michael
The artist on this is Ezra Li Eismont. It was in support of his solo exhibition at Space Gallery, “Now I Lay me down to Sleep”
This is the gallery description of the exhibition.  Now! I Lay Me Down To Sleep.
Now I Lay Me Down to Sleep,
I pray the Lord my soul to keep
Guide me through the starry night
And wake me with the morning light
Thank you for another Day,
A chance to learn, a chance to play.
Paintings exploring the darker side of media manipulation of the minds of the masses. An ode to John Carpenter.

Ezra is an Oakland, California painter, designer and DJ. He earned his BFA from California College of Arts and Crafts in 1997. His blog has a very thorough bio and photos of other works. Ezra has another mural on Bartlett Street in the mission.

I found this little excerpt on his blog, I think it explains a lot about this series. “I am interested in how mythologies are reflected in media, how threads of mythologies intertwine. Who are our heroes? Our enemies? Whom do we learn to look up to, whom do we learn to despise? What cultivates our self control and mastery? Fear or Love? How are mythologies used to help define our decision making process? How are mythologies used to reinforce stereotypes? What images do we find offensive? What images do we find attractive? How do images shape and mold our consciousness? I’ve got more questions than answers.”

Tenderloin – NBC Radio City Building

 Posted by on December 11, 2011
Dec 112011
 
Tenderloin
420 Taylor Street
Mural by C.J. Fitzgerald

Diane Winters is a tile restoration artist.  She recently emailed me about this mural that she was instrumental in restoring.  I had never seen it before, and was thrilled to get a chance to photograph it and learn a little bit of San Francisco history, I was completely unaware of.

The mural sits on the side of a parking garage, little did I know the building also housed Radio City. The NBC Radio City building in San Francisco was not owned by NBC. It was built for NBC and owned by a San Francisco investor, a dentist named Dr. Barrett. The basement and most of the ground floor were used as a public parking garage operated by Dr. Barrett. The upper four floors were used for broadcasting. Rumor has it that Dr. Barrett believed that radio was a passing fad, so he had the framework of his building designed to allow easy conversion of the rest of the building into a parking garage.

NBC moved into Radio City in 1942. It moved out when the twenty-five year lease expired in 1967. The building was a white elephant from the day NBC moved in. It contained ten studios, plus a news studio. Every studio except news had its own control room

The building is an Art Deco marvel and if you are interested in reading more of its architecture and history here is a great link.

The mural, which contains over 2,500 tiles,  measures 16 X 40 feet and begins over the doorway, on the second floor making it very hard for me to bring you really terrific photos.  Notice the hand on a radio dial.

Diane’s email had this to say “As a side note, 22 of the current tiles were made by me to replicate tiles damaged during renovations begun in 2000.  Impact from the interior side of the facade wall caused a portion of the hand and adjacent radio waves to fall off the building, fortunately landing on that “canopy” over the entrance and not on pedestrians.  I used the broken pieces and a photograph, plus glaze and blackline technique tests over the course of two years to recreate them.  I had to match more than 18 glaze colors just in that small section.  …there were 126 colors total (I don’t even want to try to imagine counting and keeping straight that many).”

I sadly, could find nothing about about C.J. Fitzgerald the original designer of the mural.

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Polk Street History in Murals

 Posted by on September 19, 2011
Sep 192011
 
Tenderloin
1221 Polk Street
This series is by Dray.  This set of murals is on the side of Lush Lounge at 1221 Polk Street in San Francisco.  When I spoke to Dray about these murals he relayed an article in the San Francisco Examiner that discussed the controversy regarding a series of murals that was to be scheduled in the neighborhood on Hemlock, just down the street.
While Dray’s murals were not quite as controversial the Examiner stated “The Fern Alley mural proposal was far less contentious — the artist, Dray, proposed a visual timeline of Polk Street dating back to 1906.
The artist faced some heat for featuring an image of a gay hustler, and for depicting famous graffiti artist Shepard Fairey at work, which a few residents said glorified vandalism. Still, the mural proposal is moving forward.”
Here is Dray’s explanation: “There are seven 6ft by 10ft panels which were painted and then later installed on the building.  Each panel depicts a certain era with relative imagery to reflect that era.  Even some of the styles of painting reflect the era also.  Depending on which panel you are looking at you will see Max Beckmann, Picasso, Dali, Andy Warhol and Shepard Fairy.  If you research the history of Polk Street you will see that this illustration is somewhat mild compared to what was REALLY going on on that street.”

 

The Tenderloin

 Posted by on August 21, 2011
Aug 212011
 
The Tenderloin – San Francisco
149 Mason Street
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The colorful tiles are by Johanna Poething.  Her prolific amount of work has shown up in this website many, many times.  According to her website, Johanna Poethig is a visual, public and performance artist who has exhibited internationally and has been actively creating public artworks, murals, paintings, sculpture, and multimedia installations for over 25 years
If you are interested in learning more about the housing project you can go to Glide’s website here.

The Tenderloin – GEDC Family Housing

 Posted by on August 20, 2011
Aug 202011
 
The Tenderloin – San Francisco
125 Mason

Walking this section of Mason street, I noticed a profound difference in its essence.  It was far cleaner, and brighter than I remembered from the past.  This is most definitely due to two new housing buildings that have recently gone up.  This one is 125 Mason Street and is the GEDC Family housing.  Glide Economic Developement Committee is part of the Glide Memorial Family.  The front of the building is covered with these wonderful three dimensional sayings, that lend a sense of respect to the building.

The installation is by Mildred Howard. The Chronicle describes Howard thusly: Mildred Howard takes full advantage of the latitude that modernism won for artists in the use of materials and expressive idioms. She has used photographs, glass, architecture, housewares and other found objects of all kinds.

Because she maneuvers so freely within the conceptually soft borders of “installation” work, people tend to think of her as a sculptor, but she prefers the vaguer, more open term artist.

A native San Franciscan, Howard, began her adult creative life as a dancer before shifting her energies to visual art.

Her work has appeared in exhibitions around the world and has garnered numerous awards, including the San Francisco Art Institute’s Adaline Kent Award, and fellowships from the Flintridge and Rockefeller foundations and the National Endowment for the Arts.

The Mission & The Tenderloin

 Posted by on August 18, 2011
Aug 182011
 
Tenderloin – San Francisco
The Mission District – San Francisco
Taken on Hemlock just off Polk
The rabbit is by internationally know ROA.  He has an amazing body of work that you can view at this website.  Born in Ghent, Belgium, his start in the art world was like most graffiti artist, under bridges and on subway walls, but as you can see he has grown substantially. ROA strives for precise anatomical detail, and his works often come across as unsentimental, feral beasts whose looming scale and piercing gaze can present a real challenge to the viewer.
 “Belgian graffiti artist ROA is obsessed with bringing nature back to the streets. Because of him, pigs sleep in alleyways in London and oxen and bears rest in Warsaw. Executed in trademark black and white paint and usually on a gigantic scale, his pieces often show a darker side to wildlife – recurring crows plucking at the eyes of men and rabbits, or animals with their internal organs on show. Notoriously private, he is elusive in interviews but has exhibited across Europe”
Spencer Keaton Cunningham followed him around while he was in San Francisco and posted 3 short videos here on Vimeo but ROA’s face is blurred, and he really doesn’t say to awfully much.
Hardly matters, his art speaks for him.
These were taken on Bartlet Street between Mission and Valencia and 21st and 22nd.
The 2 large seals are standing on the one that shows in the last picture.  While huge, the mural is also behind several chain link fences.  Understandable that the property owners would put up fences, there wasn’t a square inch on the block that had not been tagged or paint balled.  Sadly, once again disrespecting tags on someone else’s work.  Alas, fences make for poor photographs, I wish I could have gotten it all in one shot.
UPDATE – The Roa in the Tenderloin is no longer available.
Aug 162011
 
Tenderloin, San Francisco
Polk and Hemlock
This mural, commissioned by the Mayor’s Office of Economic Workforce and Development as part of the Polk Street Alley’s Program, was painted by Dray.  It is “Friedel Klussman, the Cable Car Lady”.  I happened upon Dray while he was cleaning the tags off the mural and we got into a great history chat about the cable cars and its depiction in his mural.  Front and center you see a horse. That is because originally horses drew the cars, often with heavy loads.  On a typically damp summer day in 1869 one of these cars slipped back, flipped over and killed five horses. While a frightening sight to anyone, it was witnessed by Andrew Smith Hallidie who at the time had the resources and know how to do something about it.
Hallidie had been born in England and moved to the U.S. in 1852. His father filed the first patent in Great Britain for the manufacture of wire- rope. As a young man, Hallidie found uses for this technology in California’s Gold Country. He used the wire-rope when designing and building a suspension bridge across Sacramento’s American River. He also found another use for the wire-rope when pulling heavy ore cars out of the underground mines on tracks. The technology was in place for pulling cable cars.  The first successful cable car run was August 2nd, 1873.
Then in 1947, Mayor of San Francisco Roger Lapham proposed the closure of the two Powell Street cable car lines, which were owned by the city as part of the San Francisco Municipal Railway. Onto the scene steps Friedel Klussmann, a prominent San Franciscan that had started the San Francisco Beautiful Committee.   She gathered a group of 27 women’s organizations and formed the Citizens’ Committee to Save the Cable Cars. In a famous battle of wills, the citizen’s committee eventually forced a referendum on an amendment to the city charter, compelling the city to continue operating the Powell Street lines.
In 1951, the three cable car lines owned by the private California Street Cable Railroad (Cal Cable) were shut down when the company was unable to afford insurance. The city purchased and re-opened the lines in 1952, but the amendment to the city charter did not protect these lines, and the city proceeded with plans to replace them with buses. Again Mrs Klussmann came to the rescue, but with less success this time. The result was a compromise protected system made up of the California Street line from Cal Cable, the Powell-Mason line already in municipal ownership, and a third hybrid line made up by grafting the Hyde Street section of Cal Cable’s O’Farrell, Jones & Hyde line onto a truncated Powell-Washington-Jackson line (now known as the Powell-Hyde line).
When Mrs Klussmann died at the age of 90 in 1986, the cable cars were decorated in black in her memory. In 1997, the city dedicated the turntable at the outer terminal of the Powell-Hyde line to Mrs Klussmann
I am often asked if tagging another persons mural is unseemly, well yes it is, and it does force someone to come clean up the mess.  As sad as that is it led to my having the absolute pleasure of meeting Dray as he worked.
Some other works of Drays’ in the block are a little decoration for Maharani, an Indian Restaurant on Polk.
 You can find Dray on Facebook under Visual Compositions by Dray.

 

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