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Post Salon: City Needs Jobs Policy That Overturns Discrimination in Hiring

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Adopt a policy that benefits everyone, not just side agreement with Building Trades, say speakers

The Post Salon Community Assembly last Sunday addressed the critical need to create opportunities for decent jobs at decent wages for Black workers, seeking to ramp-up community efforts to end discrimination against African-Americans on city-funded building projects.

The panel of speakers included City Councilmembers Desley Brooks and Rebecca Kaplan; Pete Varma, president of the National Association of Minority Contractors, Northern CA Chapter; Miguel Galarza, president of Yerba Buena Engineering & Construction; and Dexter Vizinau, president of CyberTran International and member of OaklandWORKS.

Recent statistics show that African Americans get only 9 percent of the hours on city-funded construction projects, though they make up 27 percent of the Oakland’s population. At the same time, the official unemployment rate for African Americans stands at 7.7 percent, almost double the rate for whites.

Within this context, some City Council members are considering proposals to pass a Project Labor Agreement (PLA) with the Building Trades, which means the city would sign a contract guaranteeing that nearly all jobs on city-funded projects would go through the unions and union hiring halls, which have few or no Black members in building trades unions.

Councilmember Brooks said that Project Labor Agreements have a bad track record when it comes to equity.

“We should not tinker at the margins,” she said. “PLAs have not worked for communities of color, particularly for Black folks. We can ill afford not to have jobs for people in this community.

“The city has the ability with its own money to ensure people in this community have jobs.”
Mayor Libby Schaaf has advocated signing a PLA, and another proposal is being developed by Councilmember Abel Guillén, according to Councilmember Kaplan.

The building trades—locally and nationally—have for years resisted publically releasing the ethnic breakdown of their membership.
According to many people familiar with the construction trades in the Bay Area, African Americans are excluded. There are larger numbers of Latinos in lower-paid trades, such as the Laborers Union.

But many of the other more highly paid trades are almost exclusively white, such as Glaziers, Electricians, Plumbers, Elevator Technicians and others.

At present, most Black workers in construction are hired by small, non-union contractors who are Black. As Black contractors are forced out and existing ones are forced to hire through the union hiring halls, Black workers become more and more scarce.

The elite craft unions exclude people of color, said Galarza, who works on equity issues in construction in San Francisco and San Jose.
“Electricians at $70 an hour plumbers at $80 an hour, you will not find people of color in those unions,” he said.

Galarza said that equity amendments were approved by the City Council in San Jose, but the building trades refused to sign the amended PLA.

In San Francisco, the building trades walked away from a million-dollar construction project because they would have been required by a Consent Decree to release the ethnic composition of the unions, he said.

Vizinau said Black contractors are disappearing.

“There used to be a lot of Black contractors in Oakland,” he said. “We built downtown. Now, I can’t find more than five (Black contractors).”

“Proposition 209 did away with affirmative action. That was the beginning of the decline.”
Passed in 1996, Prop. 209 was a California ballot proposition that amended the state constitution to prohibit state governmental institutions from considering race, sex, or ethnicity in the areas of public employment, public contracting and public education.

“I am not anti-union,” continued Vizinau. “I know what unions can do and what they should represent. We just have to get them there.”

Councilmember Kaplan said the city has the responsibility to ensure that “jobs and contracts are provided fairly throughout the community.”

She said she supports “ban the box” so the formerly incarcerated can be hired on city-funded construction projects. She also backed Councilmember Brooks’ proposal to use city funds to support pre-apprenticeship training programs, like Cypress Mandela Job Training center

“There has to be money for pre-apprenticeship,” said Kaplan. “There has to be access to pathway to these jobs.”

Varma said minority contractors are not at the table when developers and contractors decide who is going to do the work.

“There’s a huge problem,” he said. The people with the money and are jobs are “not talking to minority contractors, they are not talking to small contactors—who need work.”

An action proposal came out of the meeting:
City officials should work with the community to develop a fair jobs policy, which the city should adopt instead of signing a PLA.

A new city policy can incorporate the “good” parts a PLA that protect workers’ rights, as well as protect the the rights of African Americans, women and other groups: The Building Trades unions must release their membership by ethnicity and adopt concrete goals for improving equity.

Ask the city’s Department of Race and Equity to mprepare a report on the equity implications of the various jobs policies.

Utilize the results of a long-awaited Disparity Study to pinpoint policies that will level the playing field for small minority and women-businesses that seek contracts.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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