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FOR-SITE Foundation Executive Director Cheryl Haines at the opening of International Orange
About

Staff, Board, Partners

Staff

Cheryl Haines, Founding Executive Director
Jackie von Treskow, Program Director
Alison Konecki, Communications and Development Manager

Board of Directors

Cheryl Haines
Philip Hayes
Jim Miller
Jane Scott
Sarah Woodward

Advisory Board

Mary Livingstone Beebe
Madeleine Bessborough
David Breskin
Donald Fortescue
Andy Goldsworthy
Walter Hood
Kathryn Reasoner
Lawrence Rinder

Institutional Partners

The FOR-SITE Foundation has partnered with these organizations to present artists’ projects and develop education programs.

Asian Art Museum of San Francisco
California College of the Arts
Cantor Arts Center at Stanford University
Fine Arts Museums of San Francisco
Golden Gate National Parks Conservancy
Golden Gate National Recreation Area
Los Angeles County Museum of Art
Museum of Contemporary Art San Diego
National Park Service
Nevada Museum of Art
Oakland Museum of California
Presidio Trust
San Francisco Art Institute
San Francisco Museum of Modern Art
University of California, Berkeley Art Museum and Pacific Film Archive
Yerba Buena Center for the Arts

Top: FOR-SITE Foundation Executive Director Cheryl Haines at the opening of International Orange

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    • Select Press Coverage: Sanctuary
    • Select Press Coverage: Home Land Security
    • Press Coverage: @Large: Ai Weiwei on Alcatraz
    • Press Coverage: Goldsworthy in the Presidio
    • Press Coverage: International Orange
    • Press Coverage: Presidio Habitats
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  • Website Credits + Colophon

Field Notes

  • Allison Stone talks Art in the Presidio

  • Art in the Parks and “Home Land Security”: A Partner’s Perspective

  • Q&A with “Home Land Security” Curator Cheryl Haines

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For-Site Foundation

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Sanctuary Salon (February 23, 2018)

Sanctuary Salon (February 23, 2018)

Echoing Sanctuary's ethos of plurality, the "Sanctuary Salon" series weaves together the voices of artists whose practices span creative disciplines, including ...

Brendan Fernandes: Safely (2017)

Brendan Fernandes: Safely (2017)

As part of his commission for "Sanctuary," Brendan Fernandes presented a site-specific durational performance that explored themes of reverence and sacred ...

Panel Discussion: Approaching the Rug as a Critical Form

Panel Discussion: Approaching the Rug as a Critical Form

Panel Discussion "Above the Rug: Approaching the Rug as a Critical Form" February 11, 2018 Historically and traditionally, rugs are a medium for cultural ...

Sanctuary

Sanctuary



Sanctuary Salon (January 26, 2018)

Sanctuary Salon (January 26, 2018)

Echoing the ethos of plurality embodied within FOR-SITE's exhibition "Sanctuary," the "Sanctuary Salon" series weaves together the voices of artists whose ...

Sanctuary Salon (December 14, 2017)

Sanctuary Salon (December 14, 2017)

Echoing the ethos of plurality embodied within FOR-SITE's exhibition "Sanctuary," the "Sanctuary Salon" series weaves together the voices of artists whose ...

Twitter

  • It's a full house (er, Chapel) tonight for FOR-SITE's first #Sanctuary Salon https://t.co/ABOANPBfeV
  • Happening now: Free #silkscreening workshops with #SanctuaryPrintShop outside #Sanctuary @FortMasoninSF Chapel https://t.co/4BGs628mct

Instagram

  • It’s Day 6 of FOR-SITE’s 5-year “Tree Fall” anniversary and we’re back to the clay! Remember the clay chips we talked about on Day 3? Those were added to a clay pug mill along with water and the prepared hair and mixed to create the clay used for the surface level. Exact measurements of each component were necessary to ensure uniformity in each round of clay. Once the clay was out of the pug mill, it was rolled into uniform patties of approximately 1 – 1.5” thick. (Shout-out to our amazing program director, @jaxvontreskow, working that slab roller in the third photo!) #ArtAboutPlace
  • We’re taking a brief departure from clay for Day 5 of our 5-year “Tree Fall” anniversary to talk about the hair component of the sculpture. What’s that you say? HAIR component?! It’s true—hair is the surprising “ingredient” of “Tree Fall” (or, perhaps not so surprising if you’re familiar with the process of making adobe bricks; the hair—human, horse, or otherwise—provides additional strength to the clay). The human hair used in “Tree Fall” was sourced from @edosalonandgallery. Once amassed, our incredible volunteers sorted, combed, and cut the hair into 1” pieces. #ArtAboutPlace
  • Day 4 of our 5-year “Tree Fall” anniversary has us back with the clay slip. As explained yesterday, some of the slip was used to make clay chips. Slip was also used for mixing with hay (a process that was surprisingly painful, as our comm. & dev. manager @a_m_konecki can attest to—she really should have worn gloves!). The resulting slip-soaked hay mixture formed the base layer of the sculpture, and was woven into the steel caging and the tree by hand by Goldsworthy and his team. This base provided texture crucial for enabling the smoother, outer layer of clay to adhere. #ArtAboutPlace
  • For Day 3 of our 5-year “Tree Fall” anniversary we’re picking up where we left off in the clay processing yesterday. After screening, the resulting slip was poured into drying beds created from plastic sheeting bolstered by wooden planks. The slip was then left to dry and crack in the sun. Simple enough, except we all know how rare full, warm sun is in San Francisco summertime with #karlthefog ☁️always lurking about (particularly in @presidiosf). Although we did get a few clear, sunny days, we often needed backup from large industrial fans. When at last the clay was sufficiently dry, the chips were then harvested by hand. (Shout-out to our executive director @cheryllhaines gathering those chips in photo 4!) #ArtAboutPlace

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Field Notes

  • Allison Stone talks Art in the Presidio

  • Art in the Parks and “Home Land Security”: A Partner’s Perspective

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©2018 FOR-SITE Foundation - Credits + Colophon