By Magaly Muñoz

A local community art center ARTogether is creating a safe place for immigrants and refugees one craft at a time.

After Donald Trump’s first presidential term started in 2017, Leva Zand saw firsthand the impact of discrimination towards immigrants. She wanted to give this community a space to heal through a creative outlet, which prompted her to start ARTogether.

“Folks can come together and do art activities, celebrate their culture, and basically be in a judgmental free environment, no matter what is their immigration status or how well they speak English, when they came to this country, what generation they are,” Zand explained. “The idea was how to use arts and culture for community building and connection between refugees, immigrants themselves and with the broader community.”

Located in downtown Oakland, the space is dedicated partly for galleries and art shows featuring local immigrant artists. The remaining area is a communal studio where ARTogether hosts its regular activities.

Art is used as a therapeutic medium that allows participants to process and express their emotions and experiences and build community with others in the studio, Zand said.

The programs are catered to youth and adults with programs called “Arts in Schools” and “Arts and Wellness.” Students are encouraged to participate in music, crafts, and dancing. In contrast, adults can join support groups to connect with others and receive mental health resources to alleviate trauma they may have previously experienced.

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Zand told the Post that a lot of the issues participants come into the program with are related to feeling a lack of support or community after newly arriving to the area from their home countries. While many come from areas where traditional therapy is considered taboo, art lets people of all backgrounds express themselves in a creative form that makes sense to them.

The center can also provide referrals and direct contacts to traditional mental and physical health professionals and legal and social programs for those who need more extensive assistance.

Because of how the organization started, ARTogether has a strong “Stop the Hate” messaging built into its mission. They began promoting advocacy against anti-immigrant and anti-refugee hate across several demographics during the pandemic, even before “Stop the Hate” became officially established.

“We really want to activate this space for the community to get together, to share, to strategize, to see how they can advocate at the local, state and even national level for their rights,” Zand shared.

Anticipating an influx in stress and trauma for residents after the presidential inauguration in January, ARTogether is hosting a community gathering at the end of the month in order to give people the space to express their feelings through crafts.

These gatherings, or “Gather In’s”, will be held monthly, or for as long as funding can sustain them, which Zand said might not be for long.

The organization recently lost one of its grants from the city of Oakland during the major budget cuts earlier this month that slashed funding for arts and culture programs. They were meant to receive a $20,000 grant through the city’s initial contingency budget plan but the money is now gone until Oakland can get their revenue up again.

Zand shared she worries about the state of the country come the new year and where her organization may end up as well if budget restraints continue at the local and state level.

“We are really facing uncertainty. We don’t know what is happening…We don’t know how bad it’s going to be,” she said.

This resource was supported in whole or in part by funding provided by the State of California, administered by the California State Library via California Black Media as part of the Stop theHate program. The program is supported by partnership with the California Department of Social Services and the California Commission on Asian and Pacific Islander American Affairs. To report a hate incident or hate crime and get support, go to https://www.cavshate.org/

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By Anka Lee, Post Intern

San Francisco has outdone itself again with the return of Let’s Glow SF, an abstract digital art projected brilliantly on various landmark buildings downtown for the holiday season.

Produced by the partnership of Downtown SF Partnership and A3 Visual, SF Glow began in 2021 with the intent to bring life back to downtown after the COVID-19 outbreak left its streets desolate.

Accompanied by different genres of music, the largest holiday projection arts festival in the U.S. is described on its web site as “a stunning journey of light” and “a striking marriage of art and technology …that elevates the city’s art scene.”

The ‘canvases’ for Let’s Glow SF, which began on Dec. 6 and continues through Dec. 13, include 101 California St., Annie Alley, the Crossings at East Cut, the Ferry Building, One Bush Plaza, Pacific Coast Stock Exchange, Salesforce Tower, and the PG&E Substation.

‘Painting’ the light installations onto buildings starts at 5:30 p.m. and ends at 10 p.m.

At the Ferry Building on Dec. 7, the animated light display was by featuring art by Spectre Lab, Maxin10sity, and Ryan Uzilevsky of Light Harvest Studio. Across from the Embarcadero, plastic chairs were put out for front-row seating to the upcoming projection.

Families dressed in matching sweaters chatted animatedly among themselves, couples cuddled up against the bitter wind, and the ringing of the trolley’s distant approach all served to brighten the street. Holiday-special drinks like hot chocolate and themed cocktails were sold and participating eateries like Avotoasty, Barcha Restaurant came together to bring to San Francisco America’s largest annual Christmas projection event.

The eight-day event will close on Dec. 13, with “Glow on Front: A Neon Block Party” from 5 p.m. to 10 p.m. at 240 Front St.

Ervin, one of the Block by Block Downtown SF Partnership safety workers for the event, said he’s “looking at a record amount this year,” nearing around half a million attendees in total.  But that evening, a lively community evolved from the original trickle of people waiting for the art show to start.

Vendors set up displays and sold jewelry, notebooks, and handmade hairbands. Seats filled up as the day’s light faded, the chill of the air increasing with the flow of people. The excitement among the crowd was palpable and contagious. It was a welcome feeling, electrifying the ever-growing holiday cheer.

Chatter quieted and adventurous music blasted from speakers that were behind the seating area. A projection by Spectre Lab shone directly at the Ferry Building, the abstract graphics of candlelight, lanterns, and disco balls ‘dancing’ to the beat of the music that transformed the clock tower into something alive. The illusory animation spun and stretched the tower with enthusiasm—this writer was in awe.

A newcomer to Let’s Glow SF thought it was really cool how it “utilizes space that we have and…adds something new…for us to enjoy.”

One family only learned about the lights show on their way home after arriving by ferry, and “[they’d] seen it on the billboard with all the artists…. It’s a very positive thing for San Francisco after everything that’s gone on [with COVID].”

Attend the Let’s Glow SF projection event today through Dec.13 for free, at any of their eight locations: 101 California St., Annie Alley, the Crossings at East Cut, the Ferry Building, One Bush Plaza, Pacific Coast Stock Exchange, Salesforce Tower, and PG&E Substation. Food and drink are sold at different participating businesses respective to each projection location. For more information, visit downtownsf.org.

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Special to The Post

When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees. The report below is excerpted from the MacArthur Fellows web site.

Tony Cokes

Tony Cokes, 68, is a media artist creating video works that recontextualize historical and cultural moments. Cokes’s signature style is deceptively simple: changing frames of text against backgrounds of solid bright colors or images, accompanied by musical soundtracks.

Cokes was born in Richmond, Va., and received a BA in creative writing and photography from Goddard College in 1979 and an MFA from Virginia Commonwealth University in 1985. He joined the faculty of Brown University in 1993 and is currently a professor in the Department of Modern Culture and Media.

According to Wikipedia, Cokes and Renee Cox, and Fo Wilson, created the Negro Art Collective (NAC) in 1995 to fight cultural misrepresentations about Black Americans.^[5]

His work has been exhibited at national and international venues, including Haus Der Kunst and Kunstverein (Munich); Dia Bridgehampton (New York); Memorial Art Gallery University of Rochester; MACRO Contemporary Art Museum (Rome); and the Carpenter Center for the Visual Arts (Harvard University), among others.

Like a DJ, he samples and recombines textual, musical, and visual fragments. His source materials include found film footage, pop music, journalism, philosophy texts, and social media. The unexpected juxtapositions in his works highlight the ways in which dominant narratives emerging from our oversaturated media environments reinforce existing power structures.

In his early video piece Black Celebration (A Rebellion Against the Commodity) (1988), Cokes reconsiders the uprisings that took place in Black neighborhoods in Los Angeles, Detroit, Newark, and Boston in the 1960s.

He combines documentary footage of the upheavals with samples of texts by the cultural theorist Guy Debord, the artist Barbara Kruger, and the musicians Morrisey and Martin Gore (of Depeche Mode).

Music from industrial rock band Skinny Puppy accompanies the imagery. In this new context, the scenes of unrest take on new possibilities of meaning: the so-called race riots are recast as the frustrated responses of communities that endure poverty perpetuated by structural racism. In his later and ongoing “Evil” series, Cokes responds to the rhetoric of the Bush administration’s “War on Terror.”

 Evil.16 (Torture.Musik) (2009–11) features snippets of text from a 2005 article on advanced torture techniques. The text flashes on screens to the rhythm of songs that were used by U.S. troops as a form of torture.

The soundtrack includes Metallica’s “Enter Sandman” and Britney Spears’s “… Baby One More Time,” songs known to have been played to detainees at deafening decibel levels and on repeated loops. The dissonance between the instantly recognizable, frivolous music and horrifying accounts of torture underscores the ideological tensions within contemporary pop culture.

More recently, in a 2020 work entitled HS LST WRDS, Cokes uses his pared-down aesthetic to examine the current discourse on police violence against Black and Brown individuals. The piece is constructed around the final words of Elijah McClain, who was killed in the custody of Colorado police. Cokes transcribes McClain’s last utterances without vowels and sets them against a monochromatic ground. As in many of Cokes’s works, the text is more than language conveying information and becomes a visualization of terrifying breathlessness. Through his unique melding of artistic practice and media analysis, Cokes shows the discordant ways media color our understanding and demonstrates the artist’s power to bring clarity and nuance to how we see events, people, and histories.

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