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FAQs

back to Home Land Security

 

  • What was the inspiration for the project?
  • Why is this exhibition in a national park?
  • Where are the exhibition sites?
  • How were the sites at Fort Winfield Scott selected?
  • Is there a cost to view the exhibition?
  • What are the exhibition viewing hours?
  • What kinds of exhibition information are available on-site?
  • How can I share feedback, comments, or reflections on the exhibition?
  • How do I get there?
  • How do I get a map of the exhibition? Is it easy to navigate the sites?
  • Are the exhibition sites Americans with Disabilities Act (ADA)–accessible?
  • Are domestic animals allowed inside the exhibition?
  • How long does it typically take to view the exhibition?  
  • Is there a particular order I should follow in viewing the exhibition sites?
  • Are there restrooms and food services nearby?
  • Are there any related public programs occurring during the exhibition?
  • Is the exhibition appropriate for children? If so, what ages, and are there any resources for teachers or parents?
  • How can I learn more about the partnering organizations?


What was the inspiration for the project?

This exhibition — the fourth site-specific, temporal project FOR-SITE has presented in the Golden Gate National Recreation Area — furthers FOR-SITE’s mission to encourage the public to explore lesser-known park sites of historical importance through art about place. Home Land Security was conceived as a platform to engage a diverse range of artists from around the world who are interested in social change, the commonality of human experience, and the personal impact of national security in our time. The themes it addresses include: definitions of home and safety, ideological extremism, forced migration in the wake of conflict, the constant shift of weaponry and targets, and the unwavering belief in the necessity for defense.


Why is this exhibition in a national park?

Art has a long history in the national parks. It played a formative role in the early efforts to protect and set them aside as public places, and has inspired generations of photographers, painters, poets, and many other artists. As part of a larger, ongoing Art in the Park program, the National Park Service (NPS), Golden Gate National Parks Conservancy (GGNPC), and Presidio Trust embrace art as a way to welcome the public, engage new audiences, and connect people with their parks in innovative and meaningful ways. Home Land Security presents an opportunity for visitors to reflect on the historical purpose and meaning of San Francisco’s coastal defense fortifications while considering timely, contemporary issues.


Where are the exhibition sites?

The five sites are clustered in a quarter-mile radius in the Presidio’s Fort Winfield Scott, the former headquarters for coastal defense of California at the Golden Gate. The physical address to map is 1649 Langdon Court, San Francisco. An exhibition site map is available on the Plan a Visit page.


How were the sites at Fort Winfield Scott selected?

The sites were selected as a way to invite the public to explore cultural resources of the park in new and surprising ways. By placing artworks that examine security’s human cost inside former military sites, Home Land Security provides a powerful context for considering contemporary issues and allows for a deeper understanding of the park as a place imbued with multilayered meaning and history.


Is there a cost to view the exhibition?

No. The exhibition is free and open to the public.


What are the exhibition viewing hours?

Wednesdays through Sundays, 10 a.m. to 5 p.m., from September 10 through December 18, 2016. Closed Thanksgiving.


What kinds of exhibition information are available on-site?

On-site interpretation includes printed materials, signage, and an introductory video that takes a closer look at the artists, their works, and the exhibition locations. Trained Art Guides are available to answer questions and offer assistance during exhibition viewing hours.


How can I share feedback, comments, or reflections on the exhibition?

Visitors are actively encouraged to participate in conversations and share experiences via social media using the hashtag #ArtAboutPlace (Twitter, Facebook, and Instagram). Visitors are also invited to use the parks’ hashtags: #Parks4All (Twitter, Facebook, and Instagram) and #FindYourPark (Twitter, Facebook, and Instagram). Wi-Fi is available at the sites to enhance this dialogue and allow visitors to delve deeper into the artists and exhibition themes online and through social media before, during, and after viewing the work. A hard-copy comment book is available to on-site visitors, as well.


How do I get there?

The exhibition visitor center and trailhead are located at the Nike Administration Building, at the intersection of Langdon Court and Lincoln Boulevard.
PresidiGo Around the Park Shuttle

This free shuttle includes stops at the corner of Lincoln Boulevard and Storey Avenue and in front of the Fort Scott Chapel. Catch the Crissy Field Route shuttle from the Presidio Transit Center in the Main Post or other stops in the park. For schedules and routes, visit presidio.gov.
MUNI

The 28-19th Avenue bus stops at Merchant Road/Golden Gate Bridge Tunnel, a five-minute walk from the exhibition trailhead. The 43-Masonic bus stops at the Presidio Transit Center, which is also a PresidiGo shuttle stop. For trip planning (including routes and schedules), visit sfmta.com.
By Foot or Bike

Access the sites by following the California Coastal Trail, or walk (30–40 minutes) or ride (9–15 minutes) from any Presidio entrance. Bicycle parking is available at the Nike Administration Building and the Merchant Road parking lot. For trail information, visit presidio.gov/trails.
By Car

Limited free parking is available at the Nike Administration Building and Fort Scott Chapel, and along nearby Merchant Road. Paid parking is available on the corner of Lincoln Boulevard and Storey Avenue; pay stations accept credit and debit cards. Be advised that parking fills quickly and early on weekends. For more information, visit presidio.gov/transportation/driving-and-parking.


How do I get a map of the exhibition? Is it easy to navigate the sites?

A map of the sites is available on the Plan a Visit page; in the exhibition brochure (distributed at the visitor center in the Nike Administration Building and at each of the exhibition sites); and on large, outdoor plinths at each of the sites. Temporary wayfinding signage also guides visitors between locations.


Are the exhibition sites Americans with Disabilities Act (ADA)–accessible?

Two of the five sites — the Nike Administration Building (which houses the exhibition visitor center) and Fort Scott Chapel — have ADA-accessible parking spaces and pathways. The visitor center features multimedia displays about all the artworks and sites, as well as large-print and braille exhibition brochures. On-site Art Guides are also available to assist those with accessibility needs. Service animals are permissible at all exhibition sites.


Are domestic animals allowed inside the exhibition?

No. Many of the artworks are fragile, and the interiors of the structures are not suitable for animals. Pets are welcome in the Presidio’s outdoor spaces, but they must be restrained on leashes at all times.


How long does it typically take to view the exhibition?

That depends on how long you linger at each site. On average, the full exhibition could be experienced in approximately 1.5 hours.


Is there a particular order I should follow in viewing the exhibition sites?

No, but we recommend beginning your visit at the Nike Administration Building at the exhibition trailhead, located at Langdon Court and Lincoln Boulevard; the Nike Building houses the exhibition visitor center, as well as the largest concentration of artworks.


Are there restrooms and food services nearby?

Restrooms are available at the Fort Scott ballfield along Storey Avenue (across from the Fort Scott Chapel). The Presidio also offers a variety of food options, ranging from trail mix to fine dining.


Are any related public programs occurring during the exhibition?

Public workshops to support Díaz Lewis’s 34,000 Pillows project take place Saturdays and Sundays at 11 a.m. and 2 p.m. in the Nike Administration Building. The full workshop, which includes pillow-making, lasts two hours, but drop-in participants are welcome to assist in other aspects of the project. Reservations are not required, and space is limited.


Is the exhibition appropriate for children? If so, what ages, and are there any resources for teachers or parents?

Children are welcome to attend the exhibition; the artworks are not visually graphic or inappropriate for young eyes, though parents and guardians may wish to use their discretion regarding written content on the sensitive issues surrounding national security and forced migration. Curriculum for grades 6–12 is available for teachers who would like to incorporate the exhibition into lesson plans or bring classes to view the exhibition. Tours for school and community groups are also available.

 

***

About the FOR-SITE Foundation

Established in 2003 by curator Cheryl Haines, the FOR-SITE Foundation is a nonprofit organization dedicated to the creation, understanding, and presentation of art about place. Recent projects encompass commissions, artist residencies, and educational programs, and include the acclaimed exhibition @Large: Ai Weiwei on Alcatraz; International Orange, a group show honoring the 75th anniversary of the Golden Gate Bridge; Presidio Habitats; and a series of land-art installations by Andy Goldsworthy currently on view in the Presidio.
About the National Park Service

The National Park Service (NPS) is a federal agency within the US Department of the Interior charged with managing the preservation and public use of America’s most significant natural, scenic, historic, and cultural resources. The NPS manages the coastal areas of the Presidio and Golden Gate National Parks, as well as 400 other park sites across the United States. This year marks the NPS’s centennial. Learn more at nps.gov.
About the Golden Gate National Parks Conservancy

The Golden Gate National Parks Conservancy is the nonprofit membership organization that supports the most-visited outpost in the US national park system. The conservancy provides aid for site transformations, trail improvements, habitat restoration, volunteer and youth engagement, and interpretive and educational programs. Conservancy-funded projects, in partnership with the National Park Service and Presidio Trust, are visible across the parks’ 80,000 acres — including the Presidio, Crissy Field, Muir Woods, Lands End, Alcatraz, and others. Learn more at parksconservancy.org.
About the Presidio Trust

The Presidio Trust is an innovative federal agency created to save the Presidio and employ a partnership approach to transform it into a new kind of national park. Spanning 1,500 acres in a spectacular setting at the Golden Gate, the Presidio now operates without taxpayer support; is home to a community of residents and commercial tenants; and offers unique recreation, hospitality, and educational opportunities to people throughout the San Francisco Bay Area and the world. The trust’s Art in the Presidio program welcomes a wide range of artists to respond to park sites. Ten exhibitions to date have encouraged more than 100,000 visitors to see the park’s natural and cultural treasures in a new light. Learn more at presidio.gov/trust.

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Happy Birthday to the brilliant Ai Weiwei (@aiww) 
 ⠀
Image: Ai Weiwei @Large exhibition curator Cheryl Haines consults with Ai Weiwei at the artist's studio in Beijing, June 2014; Photo: Jan Stürmann
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Happy Birthday to the brilliant Ai Weiwei (@aiww) ⠀ Image: Ai Weiwei @Large exhibition curator Cheryl Haines consults with Ai Weiwei at the artist's studio in Beijing, June 2014; Photo: Jan Stürmann
16 hours ago
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1/9
Occupying a suite of former military structures in the Presidio overlooking the San Francisco Bay, Home Land Security (2016) brought together works by contemporary artists and collectives from around the globe to reflect on the human dimensions and increasing complexity of national security, including the physical and psychological borders we create, protect, and cross in its name. 

The exhibition extended FOR-SITE’s focus on provocative art about place, inviting viewers into decommissioned batteries, an administrative building, and a chapel — some open to the public for the first time — that served for decades as key sites in the US Army’s Coastal Defense System. #ArtAboutPlace

Image: DÍAZ LEWIS, 34,000 PILLOWS, 2016–ONGOING (VIEW FROM OUTSIDE BATTERY BOUTELLE); USED AND DONATED CLOTHING AND KAPOK FIBER FILLING; COURTESY THE ARTISTS AND ASPECT/RATIO, CHICAGO; © DÍAZ LEWIS; PHOTO: ROBERT DIVERS HERRICK
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Occupying a suite of former military structures in the Presidio overlooking the San Francisco Bay, Home Land Security (2016) brought together works by contemporary artists and collectives from around the globe to reflect on the human dimensions and increasing complexity of national security, including the physical and psychological borders we create, protect, and cross in its name.  The exhibition extended FOR-SITE’s focus on provocative art about place, inviting viewers into decommissioned batteries, an administrative building, and a chapel — some open to the public for the first time — that served for decades as key sites in the US Army’s Coastal Defense System. #ArtAboutPlace Image: DÍAZ LEWIS, 34,000 PILLOWS, 2016–ONGOING (VIEW FROM OUTSIDE BATTERY BOUTELLE); USED AND DONATED CLOTHING AND KAPOK FIBER FILLING; COURTESY THE ARTISTS AND ASPECT/RATIO, CHICAGO; © DÍAZ LEWIS; PHOTO: ROBERT DIVERS HERRICK
2 days ago
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2/9
@anateresafernandez’s Sanctuary rug design, titled Erasure, showcases a work from a series of the same name for which the artist documented a performance of erasure: painting her body black with thick acrylic paint in front of a black background. The resulting video and suite of signature large-scale, hyperrealist paintings leave only glimpses of color—in this case, a searing pair of eyes. Fernández performed this act of removal and mourning in response to the 2014 disappearance and presumed murder of forty-three young male student-activists in Ayotzinapa, Mexico. For the artist, this unconscionable act raises critical questions: “Whose life can be erased so quickly? Why are some sectors of our community treated in such a disposable way? What do we need to do as a society to be seen and treated equally, like valued human beings?”

In 2017 FOR-SITE invited 36 artists from 21 different countries to design contemporary rugs reflecting on sanctuary, offering visitors a multiplicity of perspectives on the basic human need for refuge, protection, and sacred ground.
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@anateresafernandez’s Sanctuary rug design, titled Erasure, showcases a work from a series of the same name for which the artist documented a performance of erasure: painting her body black with thick acrylic paint in front of a black background. The resulting video and suite of signature large-scale, hyperrealist paintings leave only glimpses of color—in this case, a searing pair of eyes. Fernández performed this act of removal and mourning in response to the 2014 disappearance and presumed murder of forty-three young male student-activists in Ayotzinapa, Mexico. For the artist, this unconscionable act raises critical questions: “Whose life can be erased so quickly? Why are some sectors of our community treated in such a disposable way? What do we need to do as a society to be seen and treated equally, like valued human beings?” In 2017 FOR-SITE invited 36 artists from 21 different countries to design contemporary rugs reflecting on sanctuary, offering visitors a multiplicity of perspectives on the basic human need for refuge, protection, and sacred ground.
4 days ago
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3/9
Titled Here we die, @mpane.aime’s design for Sanctuary was based on one of his carved plywood portraits from a series of the same name. He creates these portraits with an ancient tool called an adze, which allows him to scrape away layers of wood and reveal his subject by reduction. Each panel is roughly twelve by twelve inches: the equivalent of a human head’s surface area. “Because my work deals with problems of race and the stereotypes of black people, the three layers within four-millimeter-thick plywood make me think of the three layers within human skin,” he explains. Despite the dark histories underlying his work, Mpane’s portraits are not somber: his embrace of bright color lends an air of inextinguishable hope and promise.

In 2017 FOR-SITE invited 36 artists from 21 different countries to design contemporary rugs reflecting on sanctuary, offering visitors a multiplicity of perspectives on the basic human need for refuge, protection, and sacred ground.
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Titled Here we die, @mpane.aime’s design for Sanctuary was based on one of his carved plywood portraits from a series of the same name. He creates these portraits with an ancient tool called an adze, which allows him to scrape away layers of wood and reveal his subject by reduction. Each panel is roughly twelve by twelve inches: the equivalent of a human head’s surface area. “Because my work deals with problems of race and the stereotypes of black people, the three layers within four-millimeter-thick plywood make me think of the three layers within human skin,” he explains. Despite the dark histories underlying his work, Mpane’s portraits are not somber: his embrace of bright color lends an air of inextinguishable hope and promise. In 2017 FOR-SITE invited 36 artists from 21 different countries to design contemporary rugs reflecting on sanctuary, offering visitors a multiplicity of perspectives on the basic human need for refuge, protection, and sacred ground.
7 days ago
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4/9
@hankwillisthomas Sanctuary contribution, titled Keep the Faith Baby, comes from a series invoking buttons and slogans from political campaigns and social movements from the last 50 years, removing them from their original context to allow audiences to reinterpret the messaging through a contemporary lens. Thomas remembers encountering a button bearing this particular wording as a child. The phrase, used by New York Congressman Adam Clayton Powell, originally served to communicate the hope and profound faith that fueled the American civil rights movement. “It may sound trite, but commercialism is the new religion. We are all believers. Even the most radical of us,” Thomas has said. “It’s not propaganda anymore.”

The notion of sanctuary—both physical and psychological—has been fundamental in shaping a sense of selfhood and social identity throughout human history. But in an era of increasing global migration and rising nationalism, the right to safe haven is under threat, and the necessity for compassion is greater than ever. Seeking to address these issues and ideas, In 2017 FOR-SITE invited 36 artists from 21 different countries to design contemporary rugs reflecting on sanctuary, offering visitors a multiplicity of perspectives on the basic human need for refuge, protection, and sacred ground.
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@hankwillisthomas Sanctuary contribution, titled Keep the Faith Baby, comes from a series invoking buttons and slogans from political campaigns and social movements from the last 50 years, removing them from their original context to allow audiences to reinterpret the messaging through a contemporary lens. Thomas remembers encountering a button bearing this particular wording as a child. The phrase, used by New York Congressman Adam Clayton Powell, originally served to communicate the hope and profound faith that fueled the American civil rights movement. “It may sound trite, but commercialism is the new religion. We are all believers. Even the most radical of us,” Thomas has said. “It’s not propaganda anymore.” The notion of sanctuary—both physical and psychological—has been fundamental in shaping a sense of selfhood and social identity throughout human history. But in an era of increasing global migration and rising nationalism, the right to safe haven is under threat, and the necessity for compassion is greater than ever. Seeking to address these issues and ideas, In 2017 FOR-SITE invited 36 artists from 21 different countries to design contemporary rugs reflecting on sanctuary, offering visitors a multiplicity of perspectives on the basic human need for refuge, protection, and sacred ground.
1 week ago
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5/9
Deinstall continues! While we are on hiatus, keep in touch by subscribing to our newsletter at the link in bio.
Deinstall continues! While we are on hiatus, keep in touch by subscribing to our newsletter at the link in bio.
Deinstall continues! While we are on hiatus, keep in touch by subscribing to our newsletter at the link in bio.
Deinstall continues! While we are on hiatus, keep in touch by subscribing to our newsletter at the link in bio.
Deinstall continues! While we are on hiatus, keep in touch by subscribing to our newsletter at the link in bio.
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Deinstall continues! While we are on hiatus, keep in touch by subscribing to our newsletter at the link in bio.
2 weeks ago
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6/9
Susanne Cockrell’s (@aradicalstitch ), Indwelling invited students to move their toolkits, studio, and lens of production to the Sierra Nevada and work through their own experiences of being on the land. Through guided walks, and meetings with local artists, community groups, herbalists and trackers students focused on understanding the complex relationships between their art practices and a sense of indwelling.

Since 2003, FOR-SITE’s education program has enriched the experience of graduate-level art students with learning opportunities that extend beyond the traditional academic curriculum.

Image: Susanne Cockrell’s, Indwelling, 2016, California College of the Arts
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Susanne Cockrell’s (@aradicalstitch ), Indwelling invited students to move their toolkits, studio, and lens of production to the Sierra Nevada and work through their own experiences of being on the land. Through guided walks, and meetings with local artists, community groups, herbalists and trackers students focused on understanding the complex relationships between their art practices and a sense of indwelling. Since 2003, FOR-SITE’s education program has enriched the experience of graduate-level art students with learning opportunities that extend beyond the traditional academic curriculum. Image: Susanne Cockrell’s, Indwelling, 2016, California College of the Arts
3 weeks ago
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7/9
Established in 2003, the FOR-SITE Foundation is dedicated to the creation, understanding, and presentation of art about place. Our exhibitions and commissions artist residencies, and education programs are based in the belief that art can inspire fresh thinking and important dialogue about our natural and cultural environment.

Image: Artist Chris Drury at work
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Established in 2003, the FOR-SITE Foundation is dedicated to the creation, understanding, and presentation of art about place. Our exhibitions and commissions artist residencies, and education programs are based in the belief that art can inspire fresh thinking and important dialogue about our natural and cultural environment. Image: Artist Chris Drury at work
3 weeks ago
View on Instagram |
8/9
Reflections from preschool students who visited #LandsEnd
Reflections from preschool students who visited #LandsEnd
Reflections from preschool students who visited #LandsEnd
Reflections from preschool students who visited #LandsEnd
Reflections from preschool students who visited #LandsEnd
Reflections from preschool students who visited #LandsEnd
Reflections from preschool students who visited #LandsEnd
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Reflections from preschool students who visited #LandsEnd
4 weeks ago
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9/9

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