tv [untitled] December 23, 2010 9:30pm-10:00pm PST
i have noticed in the last few nights that people do stop and look. a certain percentage. one of the things i was playing with was the ambiguity of whether it is alive or not, so people walk by, and they might even move like this back and forth, thinking that they are in the image, and they realize that it is a daytime shot, and that kind of thing. >> thanks for being part of life on market street. >> my pleasure. >> after the lighting of urban reflection, mayor newsom led the party to the corner of seventh street. lighting the way down the street were members of the filipino cultural center's youth program, carrying traditional core role lanterns. on the side of the resort hotel is a projection titled "storylines." working with students from the art commission writer's corps program, paul organized a series of images with text captions.
they will change every evening until a different -- and tell a different story. one block away, theodore watson has created an interactive installation that crosses over six street. spaces' begins with a photo capture station on the north side of the street that projects your face on to a building on the south side of the street. on opening night, the installation was an immediate hit with the crowd. we talked with the or what said about his remarkable installation. >> what inspired you to create this interactive piece? >> the work i typically do is kind of interactive installations or both indoor and also outdoor and public space. for me, what i'm most interested in is how we can use technology
to make the city, which is typically quite a static environment architecturally speaking -- how can we make it come alive? >> what i love about your work is there is such sophisticated software and electronics and complex connections that all have to work together to make it successful, but yet, all of that is invisible to the people interact with the work. >> they do not realize there is all these cables and projectors and computers and all this technology behind the scenes, and if you can keep it hidden, it feels like a really magical moment. to me, that is what is inspiring, and that is what makes the public, their eyes light up. >> you feel a little bit like the wizard of oz? >> totally, yes. >> having been on market street for a while and seeing how the public is reacting to your piece, what is your impression of what it is going to be like here? >> i'm already loving it. just the fact that i can look up and see someone seeing how crazy
it is, and i have been bumping into people in the street who are recognized only from their portrait. i'm hoping that people will provide a slightly more friendly way to look at each other in this neighborhood. >> it is helping to reinforce and create a sense of neighborhood. so we want to thank you for being part of this project and thank you for bringing "faces" to san francisco. >> the artery project will have installations on market street until june 2011. this revitalization initiative is funded by the national endowment for the arts in an effort to transform market street into a nationally celebrated cultural district. additional projects and events will be launched throughout the year, including art and storefronts and coordinated nighttime events hosted by the gray area foundation for the arts and the luggage store
gallery. to learn more about the artery project, visit sf >> welcome to "culture wire." today we're headed to smpling f. camera works, a premiere venue for artists working in photographer, video, and digital media. the latest exhibition lists clearness as a set of political alliances and possibilities that it is behind the sphere of dominant gay and lesbian culture. the curator fills us in on the process of creating this
thoughtful exhibition. and what she would like you to take away from it. >> i co-cureated with danny, a chicago-based writer and curator. the conceptual framework is what it means to be clear and radical for our generation. clearness as a set of political alliances and possibilities, not necessarily related to institutions of gender and swam formativity. danny and i wanted the show to feel funky and to have a really tangible quality to it. so part of that was incorporated handmade objects and installations and beautifully printed photographs and videos. there is also a lot of opportunities to participate and to take postcards or to get
the photo taken or sit within a tent made out of afghan blankets to watch videos. the exhibition is organized in three distinct galleries. in gallery one, which is the gallery designated to clear activism, there is an installation by the oakland-based collaboration and it's called "unleashed power." it's all focused on one protest that happened in chicago in 1991 with the activist organization act up, which was protesting the inadequate health care for people living in aids, and specifically it focuses on an act of police violence that occurred at that protest. the thing that is really interesting for me about that piece is that it brings us back 20 years to what clear activism looked like at the height of the aids crisis.
gallery two features work that is related to intentionally communities that exist both within cities, also in rural spaces, and transient communities as well. the return features a no madic clear tribe, the people who join this tribe are often in various states of transition themselves, whether it's leaving behind previous gender assignments or corporate jobs or a life within cities. a lot of the work featured in the exhibition and a lot of the installations are handmade objects. there is a lot of do-it-yourself aesthetic and that handmade do-it-yourself feeling is something that mimics the idea and the reality of the alternative world making that we're trying to represent here as far as the self-sufficient community goes.
gallery three features work that relates to the ideas of self-determinenism, alternative world making and utopia. visits can still participate in this -- visitors can still participate in this project. during the opening, we invite visitors to come in and try on these costumes, pose in front of the backdrop. he was really inspired by comic books that he read as growing up and thinks of this space as a post-apocalyptic monster portrait gallery where people can remain genderless once they put on the costumes. we think it's important that this be happening in san francisco, which is considered an ekpe center of the queer
actual cure. the majority of the queer cultural events happen in june which has been designated as the pride month. which to me translates as the period of time in which people can be in clear arts and culture. in september, it's hashingening back to that and proving that this is something that is scon significantly happening all the time. what danny and i hope visitors take away from this exhibition is to observe the diversity within the designation of queer in terms of race, in terms of gender presentation and intergenerational perspective of what it means to be queer as well as what it means to exist and be active and work in solidarity with people whose identities may or may not look
and its diverse community. featuring 24 films from over 18 countries, it is also one of the only four runs that showcases new works by established and emerging arab filmmakers. the possible films in four cities. in addition, the festival organizers a film series for high-school students free of charge. this year's lineup offers something for everyone, including shorts, documentary's, comedies, and dramas. >> [speaking arabic]
the mission of the arab film festival, since it its inception in 1996, and it came about -- members of our community realized there was stereotyping of arabs in the media, and they wanted to change that proactively. they wanted to use the power of film to bring in the stories, to bring in authentic images and narratives of the arab world, here to american audiences, in order to fight the negative stereotyping, and to introduce the positive, authentic images to america, which iraq california, -- throughout california, a teasing familiarity, establishing harmony between our communities.
the selection this year it is really a good selection. it is perverse, comes from more than 18 countries. it has a bit of everything for everyone. -- it is diverse, comes from more than 18 countries. there are shorts, and from us, comedies, you name it. this year, the film festival takes place in the castro. there is a comedy film from nigeria that is pretty hilarious. you can get to know arabs threw their laughing as well. [speaking in foreign language]
>> when you come to see all the diversity, nationality, ethnic, skin color, dialect, anything that you can think of, that world is very rich in diversity. we are trying to represent that diversity so people can see the different parts of the arab world. [speaking in arabic] >> people should participate in the festival because of the benefits they can get. first, the educational benefit of learning about the stories of the arab world. diverse stories. people in the united states sometimes think of the arab world as a lump sum. what is good about the arab film festival is the also have a festival for the school's program, which we have films
where we invite free of charge, i schoolers to come and attend. every year, high schoolers to go out really with a good experience, attending and watching these films. the arab film festival is not only about the festival in october. we also have year-round programs. check out the film festival to run the year, not just in the fall. -- throughout the year, not just in the fall. the best thing that somebody can take away from the arab on festival is the arab cinema is talent. it is beautiful. the stories have that they represent are good stories, beautiful stories. also, the art form is beautiful
and well made. >> for a complete film schedule and to learn more about the arab film festival, visit >> welcome to "culture wire." the director will introduce you to the man behind one of san francisco's most anticipated music festivals. ♪ >> welcome to "culture wire." with me today is the founder and financier behind the hardly strictly bluegrass festival. tell me about what inspired you
to have the festival. >> i am flattered that you would want to listen to me. now you are going to have to. i had a sort of fantasy for a lot of years that it would be really fun to put on a bluegrass festival. i have a friend named jonathan nelson. we were skiing one weekend. i told him about my fantasy. he said that i should do it. dawn holliday and sherry sternberg. the four of us had lunch. he said we would start a festival. that was the genesis. it was not anything more complicated than that. in my own defense, and was not yet playing the banjo -- i was not yet played the banjo. the ulterior motive i was accused of did not exist yet. >> i would have thought it was
because of your interest in the music and the instrument of the banjo that you play with a lot of love and enthusiasm. i would have thought that would lead to the founding of the festival. >> i have loved the music. much of my life. i really love the old time music. >> you mentioned dawn holliday. she works with you collecting the older music. >> she basically organizes the whole thing'. she decides who is going to be on. they have incredibly great bands opposite each other. i always worry about that, but she tells me not to. >> this has really grown in the number of participants. >> she kept asking what i would do about it and i kept saying
nothing. i do not want to change anything. i love it the way it is. i know it creates traffic jams, but so what? there ought to be something we can do once a year where there is a little bit of suffering a lot of pleasure. >> you have a band. >> the wronglers. i think this is our third or fourth year in the festival. the first year was spectacular. the band had played together less than a year at that point. this stage manager said he could give us 10 more minutes. i told him we did not know anything else. [laughter] so far, we have not had to audition for it. that may give them the idea. >> one thing that fascinated me is that it seems so incongruous
to consider someone with your background that is ultimately the driving force behind this fabulous music festival. >> i guess this sort of shirtsleeves to shirtsleeves in one generation. i went to cal and went away for 28 years. i always wanted to come back. it turned out there was a wonderful moment in time when three of my four for children were living here. now all four do with their children. i thought there was a real opportunity. i wanted to start a new financial firm. it was a wonderful opportunity to do it in san francisco. i get to do business with people i do not the test. [laughter] >> you established your firm here. he reestablished your family roots here. -- you reestablished your family
roots here. you used this festival as a way to give back to the community even more. >> the theory of that was that we would have a concert for the middle school kids. we bust in nearly all of the middle school kids from san francisco and now from around the bay area. the kids love it. the letters i get are very endearing. school volunteers and the school districts are really into it. there is a lot of collaboration. >> i have this image in my mind of you as the biggest fan of the hardly strictly bluegrass festival. what are some of the highlights for you over the last 10 years? >> they are sort of the nostalgic highlights. every year at the end, when in the low harris -- emmylou harris closes the festival and someone else opens the festival.
i always call them the heart and soul of the festival. those are wonderful must object moments. having a chance to listen up close to some of the greats. those are some of the great emotional moments. there's always one moment that is so bizarre. 3 or four years ago i was sitting out front listening to emmylou harris. she was very stylishly dressed. i turned to her making conversation. i said there was a strong smell of pot and she asked if i wanted some. [laughter] the following year my wife said there was an elderly gentleman old banjos. he was a very nice man sitting
on the ground. he said he understood that i like old benches. he said he had three that he would like to show me. he said he understood that i liked white ladies. he said i would like this one. i asked if he was trying to sell the banjos. he said he was giving it to me. he was giving me a $3,000 musical instrument. he said he really wanted me to have it. >> that is a beautiful story. it is true. >> do you play it? >> yes. the this delta region the nostalgic, the letters, depreciation -- -- the nostalgia, the letters, the appreciation. i love the music and i love the
way that people have gotten into it. it has become a part of people's lives. i wrecked my car the other night and was waiting for triple a. this man came up and said was the one who put on the bluegrass festival. he said it is the best thing that happens to him all year. the pleasure of that, i love the appreciation there is for the festival. what snow in the lineup of the 10th anniversary concert -- >> knowing the line of of the 10th anniversary concert, what are you looking forward to? >> there is one band we met up in colorado. i am sure nobody in san francisco is familiar with. they recalled the ebony hillbillies. i hope everyone will come to hear them. you will not believe them. >> what are some of the other
groups who are looking forward to? >> trombone shorty is that in the deal of publicity lately. he is off the charts. we have a band coming up from new york. margo is phenomenal. the chocolate drops did a special on public broadcasting. they are fantastic. the anderson family band, i live in sheer terror of us having to follow a family band. they're performing saturday morning at 11:00 for 40 minutes. we have enough stuff to play the whole time. we are ready. >> it has been a delight to have you on "culture wire." i want to thank you personally for this great musical festival you have given us. >> is a lot of fun. >> remembered the hardly
strictly bluegrass festival will be in san francisco. visit the website to get information on all of the performances. ♪ >> welcome to "culture wire." i'm your host meg. for years, free jazz concerts have been providing entertainment in downtown san francisco. people pay local musicians to perform for lunchtime crowds. the goal is not just entertainth. people in plazas are trying to create neighborhoods. what began as a forum for performers who were paid by passing the hat has become a program that provides wide
exposure and more than 500 paid gigs annually for local musicians. from july through september, people in plazas produces almost 300 free performances in the lunchtime hour. the mission of people in plazas generates social congregation. and by having these events, we encourage people to make these plazas everybody's neighborhood. >> recently, the san francisco arts commission was awarded a $ 250,000 grant for the national endowment for the arts. to establish an arts district in the central market corridor between fifth and 10th street. throughout the yearing the arts commission will partner with people in plazas to activate the sidewalks along this stretch with art installation, opening events, live music, and new arts
and antique markets at u.n. plaza. >> this area has been sleighted for many years, at least the past 25 years. i think that this redevelopment project and the n.e.a. grant are very positive signs that we have political will and a lot of momentum to really make the mid market area what it could be, which is a vibrant area where everybody is welcome and it's a place to be in san francisco. >> to get a feel for the future of the central market arts and culture district, be sure to catch out an upcoming concert. for locations and times, visit peopleinplazas.org. to learn more about the central market revitalization initiative, visit sfartcommission.org. thank you for watching "culture wire."