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Support

Supporters

We are deeply grateful to our Visionaries who underwrite FOR-SITE’s annual operating budget each year so that FOR-SITE can sustain between projects.

Visionaries
Anonymous*
Drusie and Jim Davis
Roger Evans and Aey Phanachet*
Randi and Bob Fisher*
Ed Frank and Sarah Ratchye
Tad Freese
Craig Hartman and Jan O’Brien
Susan Karp and Paul Haahr
Beverly and Peter Lipman
Nion McEvoy and Leslie Berriman
Sakana Foundation*
Syzygy Foundation
Sara and Evan Williams Foundation
Yellow Chair Foundation

*Charter Visionary

Thank you also to the following supporters who made possible the presentation of Sanctuary.

Vanguard 
Neda Nobari Foundation
Mike Wilkins and Sheila Duignan

Placemaker
Anonymous
Susie Tompkins Buell and Mark Buell
Graue Family Foundation

Grand Site-Seer 
Joachim and Nancy Hellman Bechtle
Dolby Family Fund
Randi and Bob Fisher
Kevin King and Meridee Moore
Janet Mohle-Boetani
Kim Anstatt Morton and Ian Morton
William and Susan Oberndorf

Site-Seer 
Janice and Matthew Barger
Michael Booth and Mike Oleva
Leslie Walker Burlock
Scott and Scott Case
Eleanor Coppola
Susan Engs
Tad Freese
Jonathan Gans and Abigail Turin
Stanlee Gatti
Linda and Jon Gruber
Wanda Kownacki
Mihail Lari and Scott Murray
Barry and Marie Lipman
Nancy Leavens
Rose Roven and Susan Cummins
Chara Schreyer and Gordon Freund
Susan Swig
Jack and Susy Wadsworth
Bobbie and Mike Wilsey
Kay Woods
Sarah and David Woodward

Trekker 
Nicole Avril and Dan Gelfand
Donald & Carole Chaiken Family Foundation
Christie’s in honor of Ellanor Notides

 

Support

  • Overview
  • Visionaries
  • Donor Events
  • Supporters

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

Facebook

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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