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Ai Weiwei, Stay Tuned, 2014 (installation detail, A Block, Alcatraz)
@Large: Ai Weiwei on Alcatraz

Stay Tuned

This sound installation occupied a series of twelve cells in A Block. Inside each cell, visitors were invited to sit and listen to spoken words, poetry, and music by people who have been detained for the creative expression of their beliefs, as well as works made under conditions of incarceration. Each cell featured a different recording. The diverse selection included the Tibetan singer Lolo, who has called for his people’s independence from China; the Russian feminist punk band Pussy Riot, opponents of Vladimir Putin’s government; and the Robben Island Singers, activists imprisoned during South Africa’s apartheid era.

Ai Weiwei has described the texture of the individual voice as a particularly potent vehicle for human connection and communication. Heard inside a cell, speech and singing create a powerful contrast to the isolation and enforced silence of imprisonment.

  • Ai Weiwei, Stay Tuned, 2014 (installation detail, A Block, Alcatraz); photo: Jan StĂĽrmann
    Ai Weiwei, Stay Tuned, 2014 (installation detail, A Block, Alcatraz); photo: Jan StĂĽrmann
    Ai Weiwei, Stay Tuned, 2014 (installation detail, A Block, Alcatraz); photo: Jan StĂĽrmann
  • Installation Views

Works in the Installation

NigeriaFela Kuti (1938–1997)Sorrow Tears and Blood
The celebrated Nigerian musician Fela wrote this song following the Soweto Uprising of 1976, in which hundreds of South African students were killed. In decrying authoritarianism, the song also refers to the harassment and brutality that Fela and his family experienced at the hands of the Nigerian government. Fela was arrested on charges of currency smuggling in 1984 and served 20 months in prison.

Hey yeah!
Everybody run run run
Everybody scatter scatter
Some people lost some bread
Someone just die
Police dey come
Army dey come
Confusion everywhere
Several minutes later
All don cool down brother
Police don go away
Army don disappear
Them leave Sorrow Tears and Blood
Them regular trademark!

My people self dey fear too much
We fear for the thing we no see
We fear for the air around us
We fear to fight for freedom
We fear to fight for justice
We fear to fight for happiness
We fear to fight for progress
We always get reasons to fear
We no want die
We no want quench
Mama dey for house
My pickin dey for house
I get one wife
I get one car
I get one house
I just marry
Mama dey for house
Papa dey for house
I no want quench
I want enjoy
Ah!

So policeman go slap your face
You no go talk
Army man go whip your yansh
You go dey look like donkey
Rhodesia dey do them own
Our leaders dey yab for nothing
South Africa dey do them own
Them leave Sorrow Tears and Blood
Them regular trademark!
That is why!
Everybody run run run
Everybody scatter scatter scatter
Some people lost some bread
Police dey come Army dey come
Confusion everywhere

© Knitting Factory Records.

Show Transcript
IranAhmad Shamlu (1925–2000)In This Dead-End Street
Shamlu was a Persian poet, writer, and journalist and an important member of the Iranian intellectual opposition under the Shah. Several of his works were banned or confiscated in the 1950s, and in 1954 he was arrested and jailed for 14 months. A strong opponent of repression and censorship, he received the Freedom of Expression Award from Human Rights Watch in 1991.

In this dead-end street
they smell your breath
lest, God forbid,
you’ve said I love you.
They sniff at your heart—
these are strange times, my dear
—and they flog love
by the side of the road at the barrier.
Love must be hidden at home in the closet.
In this crooked dead-end street, twisted with cold
they fuel their bonfire
with poems and songs.
Danger! Don’t dare think.
These are strange times, my dear.
The knock on the door in the night
is someone who’s come to snuff out the light.
Light must be hidden at home in the closet.
Butchers, with their bloody clubs and cleavers,
are posted at the crossing.
These are strange times, my dear.
They remove smiles from lips, and songs from mouths, by surgery.
Happiness must be hidden at home in the closet.
Songbird kebab
roasts over flames of lily and jasmine.
These are strange times, my dear.
The devil, drunk on victory, feasts at our funeral.
God must be hidden at home in the closet.

© Sirus Shamlu. English translation by Zara Houshmand.

Show Translation
ChinaLolo (born 1983)Raise the Tibetan Flag, Children of the Snowland
In 2012 the Tibetan singer Lolo released an album of songs calling for Tibetan unity and independence from China. He was arrested not long afterward and is believed to have been charged with “splittism,” a charge often used against ethnic minorities seeking rights; he was sentenced to six years in prison. This song from the 2012 album is a direct challenge to Chinese rule.

For the sake of protecting Tibet’s independence
Our kings resisted the Red Chinese leaders
From the true meaning of the middle path
Raise the Tibetan flag, children of the Snowland!

For the sake of honoring the Snowland
And to win Tibet’s complete independence
Based on the manifold truth
Raise the Tibetan flag, children of the Snowland!

For the sake of the return of the Protector
For the sake of uniting Tibetans home and abroad
From the wounds of the souls in flames
Raise the Tibetan flag, children of the Snowland!

This snow lion and snow mountain adorned flag
Is the national flag of the Tibetan people
Avenge those departed for the sake of Tibet

Raise the Tibetan flag, children of the Snowland!
Raise the Tibetan flag, children of the Snowland!

© Lolo. English translation courtesy High Peaks Pure Earth.

Show Translation
SudanMahjoub Sharif (1948–2014)A Homesick Sparrow
Sudan’s “poet of the people,” Sharif was well known in the Arabic-speaking world both for his writing and for his political commitment. He was imprisoned for political reasons for the first time in 1971, and was detained many times throughout the following three decades. He composed this poem in prison in 1990 and disseminated it to others by repeating it aloud.

A homesick sparrow,
Perches on the heart’s window;
With longing eyes,
It cranes out to glance at the houses,
At the distant skies,
Waiting for a cheerful morning,
With promises laden,
To land like a turban,
On the shoulder of the homeland.
With each coup in a dark abyss we plunge,
The heavy-footed junta besiege our songs,
They agitate our inkpot, confiscate its internal peace.
They poison the cheerful spring,
And place their muzzles on everything.
What a pleasant dream they disfigure,
In the eyes of each mother.
But they can’t manage to silence us. Never.
In their cells we sip,
The perseverance syrup,
To remain bold and steadfast.
O my times in incarceration
O my pain of longing and torment,
If I lose touch with you,
Who, in this time of coercion, would I be?
If I lose touch with you I will betray,
The little ones yet to come,
If I lose touch with you,
Conceited and self-centered I will become.
So long as I have a voice in my chords,
What prison—or even death—can silence me?
No. We will never succumb.
They have no say,
In our destiny. No they don’t.
We are the ones who bring life,
To the dead pores of dormancy.
O my sweetheart,
My life partner,
In the high regards I will always keep you.
O my beloved daughters,
Nestled in the shade of the kind people.
O the luminous space in the eye range:
Warm me up with your peaceful greetings,
With your letters.
Give my greetings to my peers;
Give my greetings to the clouds;
Give my greetings to the earth;
Give my greetings to the crowds;
And to the words of romance,
In the notebooks of the youth.

© Family of Mahjoub Sharif. English translation by Adil Babikir.

Show Translation
ChileVíctor Jara (1932–1973)Manifesto
Jara was a Chilean singer, songwriter, guitarist, and theater director. He was also a member of the Communist Party of Chile and a prominent supporter of Salvador Allende’s Popular Unity government. Shortly after the 1973 Chilean military coup, he was arrested, tortured, and ultimately killed. His recordings were banned for many years in Chile. “Manifesto” was among the last songs Jara recorded.

I don’t sing for the love of singing,
or because I have a good voice.
I sing because my guitar
has both feeling and reason.
It has a heart of earth
and the wings of a dove,
it is like holy water,
blessing joy and grief.
My song has found a purpose
as Violeta would say.
Hardworking guitar,
with a smell of spring.

My guitar is not for the rich
no, nothing like that.
My song is of the ladder
we are building to reach the stars.
For a song has meaning
when it beats in the veins
of a man who will die singing,
truthfully singing his songs.

My song is not for fleeting praise
nor to gain foreign fame,
it is for this narrow country
to the very depth of the earth.
There, where everything comes to rest
and where everything begins,
song which has been brave song
will be forever new.

© Joan Jara and Amanda Jara. English translation © Joan Jara and Adrian Mitchell, reprinted from His Hands Were Gentle: Selected Lyrics of Víctor Jara (Middlesbrough, UK: Smokestack Books, 2012).

Show Translation
CzechoslovakiaThe Plastic People of the UniverseToxika
Formed shortly after the Soviet invasion of Czechoslovakia in 1968, the avant-garde rock group Plastic People of the Universe was a major force in the Czech underground in the 1970s and 1980s. In 1976, after the band performed at an unauthorized music festival, members Vratislav Brabenec and Ivan Jirous were convicted of “organized disturbance of the peace” and sent to prison.

I am the victim of an addiction
A mania for all things toxic.
It could be an affliction
But instead it’s rather comical

I drink beer, I pop pills
Still I hardly sleep at night
Come morning I’ll sell the empties
Julie will help me with my plight

© Jan Maivald. English translation by Jitka Vondrousova.

Show Translation
CzechoslovakiaPavel Haas (1899–1944)Study for String Orchestra (Terezín 1943)
The Czech composer Haas, who was Jewish, was sent to the Terezín (Theresienstadt) concentration camp in 1941; in 1944 he was transported to Auschwitz and killed. While he was imprisoned he wrote at least eight compositions, including this piece for string orchestra. First performed by prisoners in Terezín, it is probably Haas’s best-known work today.

Performed by New Czech Chamber Orchestra with conductor Jiří Bělohlávek. © 1995 SUPRAPHON a.s.

United StatesMartin Luther King, Jr. (1929–1968)Beyond Vietnam: A Time to Break Silence
Civil rights leader and pastor Martin Luther King, Jr. was jailed at least 30 times for his nonviolent activism. In this speech delivered at Riverside Church in New York on April 4, 1967, he delivers an impassioned call for an end to the war in Vietnam. Other prominent members of the civil rights movement condemned the speech, which became one of the most controversial of King’s career.

[…] Even when pressed by the demands of inner truth, men do not easily assume the task of opposing their government’s policy, especially in time of war. Nor does the human spirit move without great difficulty against all the apathy of conformist thought within one’s own bosom and in the surrounding world. Moreover, when the issues at hand seem as perplexing as they often do in the case of this dreadful conflict, we are always on the verge of being mesmerized by uncertainty. But we must move on. […]

Somehow this madness must cease. We must stop now. I speak as a child of God and brother to the suffering poor of Vietnam. I speak for those whose land is being laid waste, whose homes are being destroyed, whose culture is being subverted. I speak for the poor of America who are paying the double price of smashed hopes at home, and dealt death and corruption in Vietnam. I speak as a citizen of the world, for the world as it stands aghast at the path we have taken. I speak as one who loves America, to the leaders of our own nation: The great initiative in this war is ours; the initiative to stop it must be ours.

I am convinced that if we are to get on the right side of the world revolution, we as a nation must undergo a radical revolution of values. We must rapidly begin the shift from a thing-oriented society to a person-oriented society. When machines and computers, profit motives and property rights, are considered more important than people, the giant triplets of racism, extreme materialism, and militarism are incapable of being conquered. […]

These are revolutionary times. All over the globe men are revolting against old systems of exploitation and oppression, and out of the wounds of a frail world, new systems of justice and equality are being born. The shirtless and barefoot people of the land are rising up as never before. The people who sat in darkness have seen a great light. We in the West must support these revolutions. […]

We still have a choice today: nonviolent coexistence or violent coannihilation. We must move past indecision to action. We must find new ways to speak for peace in Vietnam and justice throughout the developing world, a world that borders on our doors. If we do not act, we shall surely be dragged down the long, dark, and shameful corridors of time reserved for those who possess power without compassion, might without morality, and strength without sight.

Now let us begin. Now let us rededicate ourselves to the long and bitter, but beautiful, struggle for a new world. […]

© Estate of Dr. Martin Luther King, Jr. View a complete transcript of this speech on the website of the Martin Luther King, Jr. Research and Education Institute at Stanford University.

Show Transcript
South AfricaThe Robben Island SingersWhat a System (What a Crime)
The Robben Island Singers, Muntu Nxumalo, Thembinkosi Sithole, and Grant Shezi, are former anti-apartheid fighters who were incarcerated on Robben Island, the notorious South African prison where Nelson Mandela was also detained. This song calls attention to the exploitation of black workers in African gold mines.

In a city on a corner
Stands a house that’s mighty grand
Where in glory and in splendor
Dwell the magnates of the rand

What a system! What a system! What a system! What a crime!
We can’t mend it, we must end it
End it now and for all times

Up above the mining compound
Where he joins the picket line
He’s a labor agitator
And his life’s not worth a dime

What a system! What a system! What a system! What a crime!
We can’t mend it, we must end it
End it now and for all times

In the tunnel hot as blazes
Excavating in the mine
He digs gold amidst the rock fall
As they pay him two and nine

What a system! What a system! What a system! What a crime!
We can’t mend it, we must end it
End it now and for all times

Performed by The Robben Island Singers: Muntu Nxumalo, Grant Shezi, Thembinkosi Sithole, and produced by Groundswell Educational Films, NFP.

Show Transcript
IranArya Aramnejad (born 1982)Ali Barkhiz
Singer Aramnejad is best known for this song, whose title translates as “Ali, Rise.” Aramnejad wrote it in response to the Iranian government’s brutal treatment of demonstrators during protests that followed the 2009 presidential election, which was widely believed to have been rigged. The song was considered a threat to national security, and Aramnejad was detained, tortured, and eventually sentenced to a year in prison. All of his recordings were confiscated.

Indeed Hossein . . .
Is a guiding light
And a rescue ship

It was noon on Ashura
When the dormant Yazid of our time
Rose from his old grave
With the intent to murder the brave and fearless

What crime has our nation committed
Except to cry out for freedom?
Be witness oh merciful God
To the desecration of humanity

Ali rise and obliterate
The wrongdoings of these hypocrites
For they have forsaken justice
To the Devil himself

They have corrupted Mohammad’s religion
To such a degree that
As though the Prophet Mahdi himself
Takes his orders from them

Oh merciful God
Accept us as Hossein’s supporters
And give your blessings
To him and his family

The holy month of Moharam was flooded with blood
At the hands of the devil’s army
Khavarej dressed in religious garb
They place the Quran on spears

The spirit of antichrist is being reincarnated
On these mysterious nights
Oh merciful God
Shine your sunshine on Iran

Ali rise and obliterate
The wrongdoings of these hypocrites
For they have forsaken justice
To the Devil himself

They have corrupted Mohammad’s religion
To such a degree that
As though the Prophet Mahdi himself
Takes his orders from them

© Arya Aramnejad. English translation by Pouneh Attarinejad.

Show Translation
ChinaLiao Yiwu (born 1958)Massacre
Liao Yiwu is a writer, musician, and poet. This poem is a memorial for the thousands of people brutalized in the Tiananmen Square massacre of June 4, 1989, when the pro-democracy movement was crushed throughout China. As a result of the poem, Liao was arrested in 1990 and given a four-year prison sentence. Most of his work has been banned in China. He now lives in Germany.

Leap! Howl! Fly! Run!
Freedom feels so good!
Snuffing out freedom feels so good!
Power will be triumphant forever.
Will be passed down from generation to generation forever.
Freedom will also come back from the dead.
It will come back to life in generation after generation.
Like that dim light just before the dawn.
No. There’s no light.
At Utopia’s core there can never be light.
Our hearts are pitch black.
Black and scalding.
Like a corpse incinerator.
A trace of the phantoms of the burned dead.
We will exist.
The government that dominates us will exist.
Daylight comes quickly.
It feels so good.
The butchers are still ranting!
Children. Children your bodies all cold.
Children, your hands grasping stones.
Let’s go home.
Brothers and sisters, your shattered bodies littering the earth.
Let’s go home.
We walk noiselessly.
Walk three feet above the ground.
All the time forward, there must be a place to rest.
There must be a place where sounds of gunfire and explosions cannot be heard.
We so wish to hide within a stalk of grass.
A leaf.
Uncle. Auntie. Grandpa. Granny. Daddy. Mummy.
How much farther till we’re home?
We have no home.
Everyone knows.
Chinese people have no home.
Home is a comforting desire.
Let us die in this desire
OPEN FIRE, BLAST AWAY, FIRE!
Let us die in freedom.
Righteousness. Equality. Universal love.
Peace, in these vague desires.
Stand on the horizon.
Attract more of the living to death!
It rains.
Don’t know if it is rain or transparent ashes.
Run quickly, Mummy!
Run quickly, son!
Run quickly, elder brother!
Run quickly, little brother!
The butchers will not let up.
An even more terrifying day is approaching.
OPEN FIRE! BLAST AWAY! FIRE! IT FEELS GOOD! FEELS SO GOOD! . . .

Cry Cry Cry Crycrycrycrycrycrycry

We stand in the midst of brilliance but all people are blind
We stand on a great road but no one is able to walk
We stand in the midst of a cacophony but all are mute
We stand in the midst of heat and thirst but all refuse to drink

In this historically unprecedented slaughter only the spawn of dogs can survive.

© Liao Yiwu. Adapted from an English translation by Michael Day, originally published in PEN International: Bulletin of Selected Books, Vol. XLII, No. 2, 1992.

Show Translation
RussiaPussy RiotVirgin Mary, Put Putin Away (Punk Prayer)
In 2012 the Russian feminist punk rock group Pussy Riot performed this song at a cathedral in Moscow in protest against Orthodox Church leaders’ support for Russian President Vladimir Putin. Three members of the group, Nadezhda Tolokonnikova, Maria Alyokhina, and Yekaterina Samutsevich, were convicted of “hooliganism motivated by religious hatred” and sentenced to two years in prison; Samutsevich’s sentence was suspended.

Virgin Mother of God, put Putin away
Put Putin away, put Putin away!

Black robe, golden epaulettes
All parishioners crawl to bow
The phantom of liberty is in heaven
Gay pride sent to Siberia in chains

The head of the KGB, their chief saint,
Leads protesters to prison under escort
In order not to offend His Holiness
Women must give birth and love

Shit, shit, the Lord’s shit!
Shit, shit, the Lord’s shit!

Virgin Mary, Mother of God, become a feminist
Become a feminist, become a feminist!

The Church’s praise of rotten dictators
The cross-bearer procession of black limousines
A teacher-preacher will meet you at school
Go to class—bring him money!

Patriarch Gundyaev believes in Putin
Bitch, better believe in God instead!
The Belt of the Virgin can’t replace mass meetings
Mary, Mother of God, is with us in protest!

Virgin Mother of God, put Putin away
Put Putin away, put Putin away!

© Pussy Riot. English translation from Pussy Riot! A Punk Prayer for Freedom (New York: Feminist Press, 2013), reproduced with permission from Maria Alyokhina and Nadezhda Tolokonnikova.

Show Translation
Ai Weiwei
Ai WeiweiChinese, born 1957

Ai Weiwei is a Beijing-based artist and activist whose work encompasses sculpture, installation, photography, film, architecture, curation, and social criticism. His art has been featured in major solo exhibitions including Ai Weiwei at Blenheim Palace, Woodstock, UK, 2014; Evidence at the Martin-Gropius-Bau, Berlin, 2014; and Ai Weiwei: According to What?, which was organized by the Mori Art Museum, Tokyo, in 2009, and traveled to North American venues in 2013–14. Ai collaborated with architects Herzog & de Meuron on the “bird’s nest” stadium for the 2008 Beijing Olympics. He has been the recipient of numerous awards and honors, including Amnesty International’s Ambassador of Conscience Award in 2015.

Ai Weiwei Website

Top: Ai Weiwei, Stay Tuned, 2014 (installation detail, A Block, Alcatraz); photo: Jan StĂĽrmann Installation sound design by Earwax Productions. Stay Tuned is generously supported by Meyer Sound.

@Large: Ai Weiwei on Alcatraz is presented by the FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy.
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Support for the exhibition is provided by Roger Evans and Aey Phanachet, the Fisher family, and other generous donors.

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  • #LandsEnd featured artist Andrea Chung’s video Come Back to Jamaica (2009), & Come Back to Yourself (2013), will be… https://t.co/HXwouRNnBa
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FOR-SITE collaborator @hankwillisthomas & artist @wideawakes designed  #EyesonIran flying billboards in solidarity with the women of Iran. 

The billboards can be seen this week on South beach, Miami and at @untitledartfair 

@forfreedoms multi-day, multi-media art installation spans Miami and artworks throughout @4freedomspark in NYC
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FOR-SITE collaborator @hankwillisthomas & artist @wideawakes designed #EyesonIran flying billboards in solidarity with the women of Iran. The billboards can be seen this week on South beach, Miami and at @untitledartfair @forfreedoms multi-day, multi-media art installation spans Miami and artworks throughout @4freedomspark in NYC
2 months ago
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1/9
This #GivingTuesday we want to celebrate and honor YOU and the other partners and supporters who have buoyed our wildest dreams. Access to all of our exhibition sites these past years—from the former Cliff House to Alcatraz to military batteries and churches—was gifted to us from our park partners. The 110 artists with whom we have worked blew us away with breathtaking, career-defining work, often under short order. FOR-SITE simply would not exist without the well of generosity and cooperation that is our friends, and we intend to express our gratitude this year. 

You can continue to support FOR-SITE by donating today at the link in bio.
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This #GivingTuesday we want to celebrate and honor YOU and the other partners and supporters who have buoyed our wildest dreams. Access to all of our exhibition sites these past years—from the former Cliff House to Alcatraz to military batteries and churches—was gifted to us from our park partners. The 110 artists with whom we have worked blew us away with breathtaking, career-defining work, often under short order. FOR-SITE simply would not exist without the well of generosity and cooperation that is our friends, and we intend to express our gratitude this year. You can continue to support FOR-SITE by donating today at the link in bio.
2 months ago
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2/9
The participating artists of FOR-SITE’s 2018 exhibition SANCTUARY, represented diverse ideologies and backgrounds (many including experiences as migrants and refugees), but their contributions to the exhibition—spectacularly varied in content and design—conformed to a single format, lending a unifying element that bridged racial, cultural, and religious differences. Installed on the floor of the historic Fort Mason Chapel, the four-by-six-foot wool rugs—woven in Lahore, Pakistan, using traditional materials and hand-knotting techniques—called to mind traditional prayer rugs, but they transcended religious connotations, encompassing thoughtful viewpoints on cultural identity, sense of place, and belonging.

Photo by @robertdiversherrick
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The participating artists of FOR-SITE’s 2018 exhibition SANCTUARY, represented diverse ideologies and backgrounds (many including experiences as migrants and refugees), but their contributions to the exhibition—spectacularly varied in content and design—conformed to a single format, lending a unifying element that bridged racial, cultural, and religious differences. Installed on the floor of the historic Fort Mason Chapel, the four-by-six-foot wool rugs—woven in Lahore, Pakistan, using traditional materials and hand-knotting techniques—called to mind traditional prayer rugs, but they transcended religious connotations, encompassing thoughtful viewpoints on cultural identity, sense of place, and belonging. Photo by @robertdiversherrick
2 months ago
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3/9
#LandsEnd featured artist @suzannehusky has explored interactions among humans, animals, and plants through a multifaceted art practice that includes sculpture, installation, photography, and film for the last 20 years. 

Husky sculpts her trees from used clothes and found textiles, translating our cast-off clothing—informed by age and gender, class, culture, and politics—to the individualizing characteristics of trees, suggesting the deep interconnectedness of humans and their natural surroundings. “Forest” is both an homage to an ecological system that supports countless plant and animal species and a memorial to that same system under threat of erasure. #artaboutplace
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#LandsEnd featured artist @suzannehusky has explored interactions among humans, animals, and plants through a multifaceted art practice that includes sculpture, installation, photography, and film for the last 20 years. Husky sculpts her trees from used clothes and found textiles, translating our cast-off clothing—informed by age and gender, class, culture, and politics—to the individualizing characteristics of trees, suggesting the deep interconnectedness of humans and their natural surroundings. “Forest” is both an homage to an ecological system that supports countless plant and animal species and a memorial to that same system under threat of erasure. #artaboutplace
2 months ago
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4/9
#LandsEnd featured artist @danielbeltraphoto’s striking, large-scale aerial photographs of melting polar ice caps and oil spills highlight the rate and scale at which humanity is impacting our world. His juxtapositions of nature and destruction provide an almost overwhelming sense of physical scale and emotional dread, through flattened but dynamic images that flirt with abstraction.
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#LandsEnd featured artist @danielbeltraphoto’s striking, large-scale aerial photographs of melting polar ice caps and oil spills highlight the rate and scale at which humanity is impacting our world. His juxtapositions of nature and destruction provide an almost overwhelming sense of physical scale and emotional dread, through flattened but dynamic images that flirt with abstraction.
3 months ago
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5/9
FOR-SITE turns 20 in 2023! We feel extremely grateful to all of you, the artists, and to our long-standing park partners, the Golden Gate National Parks Conservancy (@parksconservancy), the Presidio Trust (@presidiosf), and the @nationalparkservice, for such outstanding companionship and support of our work.

Stay tuned! The celebrations begin next month, in December, followed by a milestone anniversary year punctuated by programs and events, and a to-be-announced biennial exhibition open to the public.

In the meantime, you may have noticed we changed our name and branding, with our new website coming soon. The FOR-SITE Foundation is now FOR-SITE, yet we remain dedicated to the creation, understanding, and presentation of art about place.

We look forward to celebrating with you this next year!
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FOR-SITE turns 20 in 2023! We feel extremely grateful to all of you, the artists, and to our long-standing park partners, the Golden Gate National Parks Conservancy (@parksconservancy), the Presidio Trust (@presidiosf), and the @nationalparkservice, for such outstanding companionship and support of our work. Stay tuned! The celebrations begin next month, in December, followed by a milestone anniversary year punctuated by programs and events, and a to-be-announced biennial exhibition open to the public. In the meantime, you may have noticed we changed our name and branding, with our new website coming soon. The FOR-SITE Foundation is now FOR-SITE, yet we remain dedicated to the creation, understanding, and presentation of art about place. We look forward to celebrating with you this next year!
3 months ago
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6/9
Election Day has arrived! VOTE for the planet and the future you want to see in the world 🌍🌊 🗳️
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Election Day has arrived! VOTE for the planet and the future you want to see in the world 🌍🌊 🗳️
3 months ago
View on Instagram |
7/9
@anateresafernandez talking sea bodies and On the Horizon on @kqed live. #LandsEnd
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@anateresafernandez talking sea bodies and On the Horizon on @kqed live. #LandsEnd
3 months ago
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8/9
“The response among members of the visual arts community in the Bay Area was swift and certain: The Times story, a consensus of those who spoke with The Chronicle said, does not represent the region accurately, and they do not see a local decline.

The most common criticism of the Times’ reporting was that San Francisco should not be viewed through the lens of an art market, but rather as a larger arts community consisting of many public and private institutions as well as independent artists, arts workers and patrons.” - @tonybravosf 

@anateresafernandez “On the Horizon” at #FORSITE’s #LandsEnd exhibition featured  in @tonybravosf “S.F.’s art scene, disparaged by the New York Times, pushes back” for @sfchronicle_datebook
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“The response among members of the visual arts community in the Bay Area was swift and certain: The Times story, a consensus of those who spoke with The Chronicle said, does not represent the region accurately, and they do not see a local decline. The most common criticism of the Times’ reporting was that San Francisco should not be viewed through the lens of an art market, but rather as a larger arts community consisting of many public and private institutions as well as independent artists, arts workers and patrons.” - @tonybravosf @anateresafernandez “On the Horizon” at #FORSITE’s #LandsEnd exhibition featured in @tonybravosf “S.F.’s art scene, disparaged by the New York Times, pushes back” for @sfchronicle_datebook
3 months ago
View on Instagram |
9/9

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