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Submit to be part of a published anthology of contemporary photographers. If chosen You Receive One Free Paperback Copy!!! Recently I’ve subscribed to email lists that send out regular artist open calls: opportunities to apply to shows, publication, residencies and more. The biggest trend among all of the sexy prospects, is that they don’t actually cover the cost of making the art, let alone provide additional income. These artist opportunities come at a cost for those who aren’t materially rich

The Tenderloin just got more colorful, thanks to the magic of Marina Perez-Wong and Elaine Chu or Twin Walls Mural Co.. Not actually bio-family, Marina & Elaine are artists in sync repping their San Francisco community through large scale murals. Representing women in the arts by taking their practice to the streets and disrupting assumptions that women aren’t street artists, Twin Walls has made a name for themselves as powerful muralists with West Coast flavor. Most recently Marina & Elaine

  By Jeanne Pfeffer, Director of Producing & Advancement Interview on September 7, 2018 I’ve known Charles for over ten years now. I helped him launch his company FACT/SF from 2009-2014 and now serve as President of their Board of Directors. I caught up with Charles recently over a beer to learn about his current work, death, premiering Sept 27 at CounterPulse. A choice selection of that conversation is below. ****** Jeanne: Ok, so we were talking about making a

Throughout the month of November, I hosted a birthday fundraiser in service of the CounterPulse Fellowship for Arts Workers. I want to extend deepest gratitude for all who contributed. Your efforts will support two bright and aspiring young professionals, Maya Nixon and Samantha Kuykendall, through the first full expression of the program--a paid learn-work opportunity, emphasizing deep mentorship along with social capital and network-building elements. The fellowship supports entrance for first generation college students/recent grads or participants in Tenderloin workforce

Dear Bruce, our Seattle research pilgrimage to you began with a golden sunset in the sky. We wondered how often you made this flight from OAK>SEA   The next morning, we met Mimi, our Chinatown tour guide. We walked your streets and traced your footsteps   Mimi brought us inside the Lucky Ngi Music Center—a still-functioning amateur Chinese Opera community center   This is the kind of place you grew up around in

Performing Diaspora 2018 artists Cynthia Ling Lee and Melissa Lewis in conversation. Cynthia Ling Lee: I'm excited to chat about your work today! Tell me a little about the initial inspiration for your work.  Where did it come from? Melissa Lewis: I had this wild and weird dream some time ago. Bruce Lee (or some version of him) was there visiting me, and we were in close proximity in somebody’s home somewhere, doing mundane things around a home. It seemed like

UNEARTHED is a night of video installations and performances by Bay Area emerging artists exploring ancestry and diaspora, trauma and healing, vulnerability and sexuality, and questions about our past and future. Co-curator Claire Staples interviews three of the artists: Titania Kumeh Claire Staples: You have been exploring the bathtub birth story in your performance work for a little while now. What were your original inspirations and interests, and how have they changed? Titania Kumeh: My fascination with performing birthing or origin

Interview conducted by Claire Frost, Artspan Program Manager, on January 28, 2019 Claire Frost: How do you see your work and your practice fitting into CounterPulse's space + programming? How does this space contextualize (or not) your work? Brea Weinreb: Similar to CounterPulse, community is integral to my work. Every figure painting I've ever made has been of someone I know, and most of those people live here in the Bay Area alongside me. Particularly with this new body of work

So CounterPulse is centering their second annual festival around improvisation and the pursuit of “freedom,” and this... is just a very real workout for all of me: brain, bod, heart, etc. I think it’s a bold move on our part. And I say: thank goodness for bold moves. Years ago, I used to co-teach a kind of ever-evolving, ultimately impossible pedagogy—with my sister Larry Arrington—that we called Freedom Practice. We were two young white, at-least-partially-euro-contemporary bred dance artists who decided

1. In an attempt to focus in I blurred and multiplied. The psychedelics have worn off and I’ve learned some things but am still aggrieved. To believe is to trust and to sit is to not stand. And to float? Up here vestiges of an old self linger while I wait for my magic feet to heal themselves. Emy asked “How do we know magic is real?” and I thought, “we don’t.”   2. I’ve finally made