These San Francisco style noodles are an American mashup of Vietnamese and Italian cuisine

The other evening, I made the most popular recipe of the year, at least according to the New York Times. The recipe, which was viewed more than 1.2 million times, is a San Francisco-style noodle dish from food writer J. Kenji López-Alt.

Among its simple list of ingredients is an eye-opening 20 cloves of garlic, as well as fish sauce, oyster sauce, soy sauce and Parmesan cheese. Since garlic is pretty much a food group in my house, and I always have parm, fish sauce and oyster sauce in my fridge, I figured I would give it whirl.

What Are San Francisco-Style Vietnamese American Garlic Noodles?

This garlicky noodle recipe is a twist on a classic San Francisco dish, created by Helene An at her Thanh Long restaurant in the early 1970s, where it has been famously served with baked Dungeness crab for the past five decades. An fled Vietnam during the war, settling in the Bay Area and eventually launching a restaurant empire.

In the early days, as López-Alt writes, An “felt that the restaurant would find more success by eschewing authenticity in favor of dishes that were designed specifically to appeal to the local clientele.” She was inspired by a disappointing garlic pasta dish at an Italian restaurant to create her own rendition.

Though popular, the real recipe remains a secret. In López-Alt’s interpretation, he calls for spaghetti rather than Asian noodles and intuitively the use of Southeast Asian sauces such as fish sauce and oyster sauce as ingredients. Coupled with soy sauce, Parmesan cheese and all that garlic, it’s an intense, unique dish.

Why Do You Need 20 Cloves of Minced Garlic?

Since this dish became so popular this year, there has been online debate on how to make it. One of the biggest points of discussion is how to handle the 20 cloves of garlic, which are to be “minced or smashed in a mortar and pestle.”

Minced garlic can be achieved in a number of ways. Mincing with a knife can be tricky if you don’t have good knife skills, and you run the risk of not having uniform pieces that cook evenly. Smashing the garlic before you mince makes things faster and slightly easier. I choose to use a microplane grater instead of a knife for ease. The risk with a grater is that the garlic can be a little more spicy or bitter, but since I’d be cooking the garlic for a few minutes, I wasn’t worried about that. If you have a mini food processor, that works too. But avoid a larger food processor, which will chop the garlic too big and unevenly.

How to Make San Francisco-Style Vietnamese American Garlic Noodles

The great thing about cooking this dish is that once you learn the basics, you don’t really need a recipe anymore. Two quirks of the recipe involve cooking the spaghetti. First, the Times’ suggests cooking the pasta in a skillet or sauté pan, covered by 2 inches of boiling water, rather than a big pot of boiling water. The reason here is to get starchier pasta water, which you’ll want to reserve to toss with the pasta. The other quirk is to remove the pasta from the boiling water before it’s totally al dente (about 2 minutes less than the time on the package). The pasta will continue to cook as you add it to the sauce to toss over high heat.

Ingredients

• 4 tablespoons of unsalted butter
• 20 garlic cloves, minced
• 4 teaspoons oyster sauce
• 2 teaspoons soy sauce
• 2 tea spoons fish sauce
• 1 pound dry spaghetti
• ¼ cup grated Parmesan cheese
• One bunch of scallions, thinly sliced

directions

Step 1: Combine ingredients

Melt butter in a saucepan or wok over medium heat. Add garlic and cook for 2 minutes, being careful not to brown. Add oyster sauce, fish sauce and soy sauce, stir to combine, then remove from heat.

Step 2: Cook the pasta

Bring a couple of inches of salted water to a boil in a skillet or saucepan, over high heat. Add the spaghetti. Stir the pasta a few times as it cooks until it’s almost al dente (about 2 minutes less than the recommended cook time on the package).

Step 3: Bring it all together

Using tongs, transfer the cooked pasta to the garlic-umami sauce, along with whatever water clings to it (be sure to reserve the pasta water!). Bring heat to high, and add cheese. Stir and toss vigorously until the sauce is creamy and emulsified. Add reserved pasta water if it looks too greasy or dry. Stir in scallions and serve immediately.

Vietnamese Dishes Everyone Should Know

xuanhuongho/Getty Images

Banh mi

Loved around the world, these Vietnamese baguette sandwiches together cold, grilled or roasted meats, along with pickled daikon and carrots, chiles, cucumbers, cilantro, smears of pâté, mayonnaise and Maggi seasoning for a multidimensional bite each time. You can make this Chicken Banh Mi at home.

asab974/Getty Images

Banh xèo

With its golden crispy edges, this pan-fried crepe of rice flour, coconut milk and turmeric envelopes minced pork, bean sprouts and shrimp. Wrap with lettuce and fresh herbs and dunk in sweet, sour and salty nước chấm sauce for best effect.

Button of Home

Lettuce wraps

There are many Vietnamese dishes that are best enjoyed wrapped in lettuce and herbs before dipped into a sauce such as Bánh xèo, Cuốn giấm bổng (pork and shrimp wraps) and Chả giò (fried spring rolls). If you’re feeling inspired by crisp emerald leaves and zesty sauces, make our Vietnamese Pork Lettuce Wraps.

simonlong/Getty Images

Gỏi cuốn

Often called “fresh spring rolls,” Gỏi cuốn are soft, translucent rice paper rolls stuffed with rice noodles, fresh herbs, leafy greens and shrimp or pork. Dipped in nước chấm or peanut sauce, they make a great lunch or dinner party appetizer. Learn how to make spring rolls at home.

ISS Photography/Getty Images

Bun Cha

Although there are several amazing Vietnamese dishes that feature Bún (vermicelli noodles), Bún Cha is a refreshing noodle bowl topped with warm grilled pork, fresh herbs and drenched in nước chấm sauce. It’s an all-day favorite in Hanoi!

YinYang/Getty Images

Phở

We bet that pho is one Vietnamese recipe you’ve already heard of. So, what is pho? With its fragrant broth seasoned with star anise, cinnamon sticks, cloves and cardamom, this rice noodle soup is widely enjoyed across the country. You’ll find a myriad of toppings, from paper-thin slices of raw beef to handfuls of fresh herbs like coriander, sliced ​​onions, basil and mint all doused in a spritz of lime juice.

baoquang/Getty Images

Bun Bo Hue

With notes of lemongrass, shrimp paste, chili and rock sugar, this spicy noodle soup features vermicelli noodles with an assortment of beef and pork cuts. Garnished with onions, scallions, Vietnamese coriander and banana blossoms, this dish is characteristic of the Imperial cuisine of Huế.

baoquang/Getty Images

Cơm Tấm

This “broken rice” dish typically pairs softer steamed rice grains with different types of grilled meats and either a fried egg or Chả trứng (Vietnamese steamed omelet). It is usually served at any mealtime with a side of sliced ​​cucumbers, tomatoes and scallion-infused oil.

Zoe Life Photography/Getty Images

Thịt Kho Tau

Blending sweet and savory, this warming stew of caramelized pork and eggs braised in coconut water is a beloved lunch or dinnertime staple with an accompaniment of steamed jasmine rice and tangy Dưa giá (pickled bean sprouts).

Duy Doan/Getty Images

Canh

A true Vietnamese meal is not complete without Canh, an everyday Vietnamese soup made from water instead of stock. While some can be simple, more complex Canh recipes marry together either meat or seafood with an abundance of different vegetables to create sweet, sour and savory profiles.

NguyenDucQuang/Getty Images

Che

Why choose one type of dessert when you can have them all in a singular, multi-layered, rainbow? Chè are traditional Vietnamese sweet beverages, puddings or dessert soups that mix fruits, beans and jellies soaked in sugary syrup or coconut cream. They are served hot or cold.

Photo by Rafa Elias/Getty Images

Cà phê trứng

Although only served at cafes in Hanoi, Cà phê trứng is where a quick pick-me-up meets delightful dessert decadence. Made with robusta coffee, egg yolk and creamy condensed milk, Cà phê trứng is an experience simultaneously reminiscent of tiramisu, eggnog and fluffy egg custard.

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SAN FRANCISCO–(BUSINESS WIRE)–Today American Express (NYSE:AXP) reopened the newly expanded Centurion Lounge at the San Francisco International Airport (SFO). At 16,000 square feet the lounge is now nearly double in size and features more seating, an additional bar with specialty wine flights curated by sommelier and Centurion Lounge Wine Director Anthony Giglio, and a new menu from San Francisco’s Liholiho Yacht Club Executive Chef Ravi Kapur.

“We’re excited to head into the new year with the opening of our Centurion Lounge at San Francisco International Airport,” stated Pablo Rivero, Vice President & General Manager, Global Lounge Experiences. “With exceptional food, wine and art inspired by Northern California, this well-appointed lounge is designed to leave Card Members feeling refreshed and ready for their travels.”

The Centurion Lounge at SFO will now have more space for eligible Card Members to enjoy, including two wine bars and café areas, additional restrooms, private phone rooms, several private workspaces, and more. The lounge is located in Terminal 3 on the mezzanine level.

LOCALLY SOURCED WINE1

The lounge will feature a new bar where guests can enjoy specialty wine flights highlighting four regional wines curated by renowned wine authority Anthony Giglio. The new bar complements the existing wine wall where guests can sample wines from across California. The wine flights will rotate seasonally, starting today with a Sonoma Chardonnay flight and a Napa Valley Cabernet Sauvignon flight:

Sonoma Chardonnay Flight

• Gundlach Bundschu Sonoma Coast Chardonnay 2020

• Head High Sonoma County Chardonnay 2021

• Sonoma Cutrer Les Pierres Sonoma Valley Chardonnay 2019

• Walt Sonoma Coast Chardonnay 2019

Napa Cabernet Sauvignon Flight

• Emblem Napa Valley Cabernet Sauvignon 2019

• Miner Emily’s Cuvee Napa Valley Cabernet Sauvignon 2018

• The Critic Napa Valley Cabernet Sauvignon 2019

• Twenty Rows Napa Valley Reserve Cabernet Sauvignon 2020

“As San Francisco is globally known for its world-class wine, the wine menu in the Centurion Lounge at San Francisco International Airport is fully dedicated to highlighting local California grapes,” said Anthony Giglio, sommelier and Centurion Lounge Wine Director. “For our first-ever wine flight experience, I’m thrilled to feature two of America’s most famous and established wine regions – Sonoma and Napa Valley.”

ELEVATED DINING AND DESIGN

The lounge will offer a new seasonal menu that celebrates Bay Area purveyors from Liholiho Yacht Club Executive Chef Ravi Kapur. The Hawaiian-born, James Beard Award-nominated chef will continue to bring his unique flair to the Centurion Lounge at SFO with dishes inspired by his lineage and family memories including, Kochujang marinated chicken thighs, wild rice and coconut soup, and black vinegar and Honey glazed baby carrots.

Consumers appreciate premium dining options when traveling through airport lounges. A recent Amex Trendex* survey found that a majority of respondents (64%) said that premium food and beverage offerings are their favorite parts of airport lounges.

The lounge will showcase two custom floor-to-ceiling wallcoverings by abstract artist Tracie Cheng, and new interior design that takes cues from the local vineyards, landscape, and the iconic San Francisco fog to give guests a sense of relaxation.

UNPARALLELED ACCESS

With more lounge options than any other credit card issuer on the market and the only credit card issuer with a proprietary lounge at SFO, the American Express Global Lounge Collection is just one of the many ways American Express supports Card Members through their travels. American Express continues to enhance the Centurion Lounge network through new locations and expanding existing lounges. American Express has announced plans to open new lounge locations at the Reagan National Airport (DCA) in Washington, DC and Hartsfield-Jackson Atlanta Airport (ATL) in 2023 and 2024 respectively.

*AMEX TRENDEX METHODOLOGY

This Amex Trendex online poll was conducted between November 4th – November 7th, 2022, among a sample of 2000 Adults with an HHI> 70k+ who travel by plane at least once a year. The interviews were conducted online. Results from the full survey have a margin of error of plus or minus 2 percentage points

ABOUT AMERICAN EXPRESS

American Express is a globally integrated payments company, providing customers with access to products, insights and experiences that enrich lives and build business success. Learn more at americanexpress.com and connect with us on facebook.com/americanexpress, instagram.com/americanexpress, linkedin.com/company/american-express, twitter.com/americanexpress, and youtube.com/americanexpress.

Key links to products, services and corporate sustainability information: personal cards, business cards and services, travel services, gift cards, prepaid cards, merchant services, Accertify, Kabbage, Resy, corporate card, business travel, diversity and inclusion, corporate sustainability and Environmental, Social, and Governance reports.

ABOUT THE CENTURION LOUNGE

The Centurion Lounge is the signature lounge program within the broader American Express Global Lounge Collection, which includes access to American Express Centurion Lounges, international American Express lounges, Delta Sky Club® for Card Members flying on Delta, Priority Pass Select Lounges upon enrollment, Airspace Lounges, MAG US Escape Lounges and Plaza Premium Lounges–a total of more than 1,400 lounges across 140 countries and counting.

Eligible Card Members can find a lounge at the Global Lounge Collection website or by using the American Express® App. They can also check into select Centurion Lounges through the mobile check-in tool within the American Express® App.

ABOUT SAN FRANCISCO INTERNATIONAL AIRPORT

SFO is excited to welcome travelers back to the skies with an airport experience featuring seamless access, thoughtful amenities, sustainable design and inspiring artwork and exhibits.

For up-to-the-minute departure and arrival information, airport maps and details on shopping, dining, cultural exhibitions, ground transportation and more, visit www.flysfo.com. Follow us on twitter.com/flysfo and facebook.com/flysfo.

Source: American Express Company

Location: U.S

1 Must be of legal age to consume alcoholic beverages. Please drink responsibly.

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SAN FRANCISCO–(BUSINESS WIRE)–Wheels, a Helbiz company (NASDAQ:HLBZ) and amongst micro-mobility leaders in North America thanks to its unique sit-down scooter, is launching its first proprietary store in San Francisco, California, to allow for the purchase of its new vehicle, the Wheels One, and a vast assortment of micro-mobility related vehicles and accessories.

The store, to be opened by the end of Q1 2023, will offer a wide selection of electric micro-mobility products, including the highly-anticipated Wheels One, an innovative vehicle developed and patented by Wheels. The Wheels One is designed for urban commuting and features a sleek and compact design, long-range battery, and smooth ride.

In addition to the Wheels One, the store will also offer a variety of other electric vehicles and accessories, including scooters, bikes, and skateboards. Customers can test ride and purchase products on site, and experienced technicians will be available for repairs and maintenance.

“We are thrilled to bring our products and services directly to the people of San Francisco,” said Salvatore Palella, CEO of Helbiz. “Our goal is to make sustainable and convenient transportation accessible to everyone, especially in cities in which shared micro-mobility is not allowed, and we believe that having a physical presence in San Francisco will help us achieve this mission. This will further aid our strategy of driving towards profitability by incrementing revenues linked to retail sales and long term rentals. This will be the first of many openings we will carry out throughout 2023 and more information will be shared over the first quarter of the year.”

The new store is a reflection of Wheels’ commitment to sustainability and revolutionizing intra-urban transportation. The store will be powered by renewable energy and feature eco-friendly design elements, aligning with the company’s commitment to reducing its carbon footprint.

According to recent data, proprietary ownership of micro-mobility vehicles in North America has grown significantly in recent years, with electric scooters and bikes leading the way in popularity. Wheels is excited to contribute to this growing trend and provide convenient and eco-friendly transportation options to the residents of San Francisco.

The store will be open seven days a week and located in San Francisco’s city center. Customers are encouraged to visit the store to test ride the various vehicles and learn more about the sustainable culture of Wheels. The store will also host community events and workshops focused on electric micro-mobility and sustainability. Follow Wheels on social media for updates on store events and promotions.

About Helbiz

Helbiz is a global leader in micro-mobility services. Launched in 2015 and headquartered in New York City, the company offers a diverse fleet of vehicles including e-scooters, e-bicycles, e-mopeds all on one convenient, user-friendly platform with over 65 licenses in cities around the world. The merger with Wheels, leading player in California, adds a unique sit-down scooter along with long term rental subscriptions for individuals, businesses and universities. Helbiz uses a customized, proprietary fleet management technology, artificial intelligence and environmental mapping to optimize operations and business sustainability. Helbiz is expanding its urban lifestyle products and services to include live streaming services, food delivery and more, all accessible within its mobile app. For additional information, please visit www.helbiz.com.

About Wheels

Wheels is a last-mile, shared electric mobility platform whose seated form factor changes the landscape in dockless mobility. In addition to being seated, wheeled devices have a low center of gravity and 14-inch wheels to help navigate uneven pavement surfaces. Wheels has launched a first-of-its-kind integrated helmet system that can give riders physical access to a shareable helmet with every ride they take. Wheels is headquartered in West Hollywood, California. Learn more at www.takewheels.com.

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In 2019, more than 20,000 Native American community members in Nevada lacked complete indoor plumbing, a condition known as “plumbing poverty.” That’s according to a new study by researchers at the Desert Research Institute and the Guinn Center for Policy Priorities.

The two Nevada-based organizations analyzed data from 1990 to 2019. Over that span, an average of 0.67% of Native American households in Nevada were without either piped water, a shower or a flush toilet. The national average over those 30 years was 0.4%.

Erick Bandala, assistant research professor of environmental science at DRI and lead author of the study, says water security is an issue of many tribal communities face across the Mountain West.

“There has been a historical lack of investment in Native American communities related with investment on infrastructure,” he said.

Bandala says other factors adding to the problem are population growth, climate change and water rights.

The study also showed a significant increase in the number of Safe Drinking Water Act violations in water facilities serving Nevada’s tribal communities from 2005 to 2020.

This story was produced by the Mountain West News Bureau, a collaboration between Wyoming Public Media, Nevada Public Radio, Boise State Public Radio in Idaho, KUNR in Nevada, the O’Connor Center for the Rocky Mountain West in Montana, KUNC in Colorado, KUNM in New Mexico, with support from affiliate stations across the region. Funding for the Mountain West News Bureau is provided in part by the Corporation for Public Broadcasting.

Copyright 2022 KUNR Public Radio. To see more, visit KUNR Public Radio.

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Thursday, July 21 at Davies Symphony Hall

SF Symphony Presents Gershwin: An American in Paris

Provided by SF Symphony

Pianist Inon Barnatan joins conductor Ludovic Morlot and the SF Symphony for the virtuosic thrill and soaring Romanticism of Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini. George Gershwin’s An American in Paris takes up a jaunty ride through the City of Light while Maurice Ravel’s Boléro hypnotizes with visions of Spain.

WHEN
July 21, 2022
Check-in time: 6:30 p.m
Event start time: 7:30pm

WHERE
Davis Symphony Hall
201 Van Ness Ave, San Francisco, CA 94102

Ten (10) winners will each receive two tickets, which will be emailed before the day of the event. Only active San Francisco Chronicle members are eligible to win. To enter, please fill out all of the fields in the form before noon on Tuesday, July 19. Multiple entries will not be considered. Winners will be drawn at random and notified via email by 5:00 pm on Tuesday, July 19.

Note: You will need to know the account number of your subscription in order to enter this raffle. If you do not have it, please contact customer service at 800-310-2455, by email, or go to the Subscriber Services site.

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By Daniel Lazare

After premiering at the New York Film Festival in 1979, this powerful documentary about one of the most dramatic periods in American labor history has been newly restored.

The Wobblies (1979), directed by Stewart Bird and Deborah Shaffer.

[Screens across the country for International Workers’ Day (May 1). Cities include: New York, Los Angeles, Washington, DC,  Seattle, San Francisco, Detroit, Cleveland, Denver, Austin, Park City, Omaha, Portland, and others.]

Looking for a way to celebrate May Day now that mass demonstrations no longer seem to be in style? The Wobblies might be a good place to start. Directed by Stewart Bird and Deborah Shaffer, it’s been given a full 4k restoration more than 40 years after it came out, and it’s opening up across the country just in time for International Workers’ Day. Although some might be inclined to dismiss it as an exercise in leftwing nostalgia – I confess I was part of that group – it’s in fact a powerful look at one of the most dramatic periods in American labor history. It features people like Roger Baldwin, a leftwing firebrand in his day who went on to found the American Civil Liberties Union, and a dozen or so lesser-known souls declaiming passionately about events in their youth.

The story they tell is about a vast upwelling of class conflict that is now largely forgotten. It takes us back more than a century to the days when America was the economic wonder of the world, an industrial colossus outproducing Britain, France, and Germany combined. To run its mines and mills, it was bringing in 15 million people a year, mostly from southern and eastern Europe. But considering that the country had nothing by way of welfare, unemployment insurance, labor law, or workplace regulations, immigrants who could barely speak English were at the mercy of one of the most rapacious business classes the world had ever seen. A coal-mine owner summed up the prevailing attitude in 1902 when he declared that “the rights and interests of the laboring men will be protected and cared for – not by the labor agitators, but by the Christian men to whom God in his infinite wisdom has given control of the property interests of this country.”

With God on the side of the bosses, whispering the word “strike” was blasphemous.

It was into this breach that the Industrial Workers of the World, better known as the Wobblies, stepped in 1905. In contrast to the frankly racist American Federation of Labor, a collection of elite craft unions run by the cigar-chomping Samuel Gompers, the IWW organized entire industries from the bottom up without regard to color, ethnicity, or gender. “The working class and the employing class have nothing in common,” the Wobbly constitution declared. “…Between these two classes a struggle must go on until all the toilers come together on the political, as well as on the industrial field, and take and hold that which they produce by their labor through an economic organization of the working class.” All the toilets, that is, not merely those who were white, male, native-born, and in possession of certain high-value skills.

Mass strikes erupted from the textile mills of Massachusetts to the logging camps of the Pacific Northwest. The times were not gentle. The Wobblies shows police cracking heads and blasting away with guns. One nonagenarian recounts an astonishing incident in Bisbee, Arizona, in July 1917 when the local sheriff deputized a mob of 2,000 vigilantes at the behest of the Phelps Dodge Corporation, loaded more than a thousand striking copper miners onto a freight train, transported them 200 miles into neighboring New Mexico, and then dumped them off in the middle of the desert. “There were machinegun,” the woman – unidentified, unfortunately – recalls in an Italian accent undiminished by age. “They were gonna shoot if anybody gonna jump from train.”

“1,270-some men,” she adds, “in boxcars – boxcars – like cattle! And then they take them down … to Columbus, New Mexico, without water, without anything.”

“Conditions became worse and worse,” recalls a veteran of an IWW strike in Paterson, New Jersey, the center at the time of the US silk industry. “And there was only one thing to do. You either had to just stop living or become a rebel. And that is when the IWW came in.”

“Agitators, a bunch of agitators are in Paterson,” another woman says. “Agitators! I used to get mad. I said, ‘they’re not agitating us, they just telling us the truth.’”

When 300 Wobblies took the ferry from Seattle to the town of Everett, 30 miles up the Washington coast, to support a strike by local lumber workers, hundreds of vigilantes met them at the dock and opened fire. At least five were killed. “I don’t know how many they shot,” another ex-Wobbly recounts. “Nobody knows. Lots of them went overboard, some jumped, some fell…it was terrible.”

That was in 1916. The next year saw worse as the US entered the war and newspaper headlines blared that the Wobblies were in league with the Kaiser. Repression was massive. The Russian Revolution meanwhile ended up splitting the IWW from within. After all, the Wobbly preamble, true to the union’s anarcho-syndicalist roots, had called on workers to avoid “affiliation with any political party.” Yet the Bolsheviks were a vanguard party par excellence. Lumber camps resounded with debate. “They had terrific arguments in the bunkhouses,” a veteran remembers. “The chairman, he’d get up and open the meeting and … he’d say, ‘Gather round here, fellow workers, we’ve got a goddamn revolution to talk about.’” The next year, 101 Wobblies received sentences of up to 20 years each after being found guilty of preventing the draft, encouraging desertion, and labor intimidation in a mass trial in federal court in Chicago. Membership recovered in the early ’20s, but the overall trajectory was clearly downwards.

The Wobblies is moving and intense, so it’s good to have it back after all these years. But the restoration is not without its poignant side. It would be easy to say that the movie is a reminder that such struggles are never-ending and that we’re all indebted to an earlier generation of rebels for putting their lives on the line. But decades later, we’re left with the uneasy feeling that despite such efforts, conditions have gotten worse, ie more atomized, more commodified, more fractious, and more discouraged. It’s not merely that today’s conditions are more complicated, but that society is losing ground. The Wobblies is not a feel-good movie, and that’s entirely to its credit.

Daniel Lazare is the author of The Frozen Republic and other books about the US Constitution and US policy. He has written for a wide variety of publications including Harper’s and the London Review of Books. He currently writes regularly for the Weekly Worker, a socialist newspaper in London.

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SAN FRANCISCO, Feb 18, 2022 /PRNewswire/ — This year, the Virtual Edition of The 36th Annual San Francisco Tribal and Textile Art Show is being presented at the same time as the Virtual Edition of The 38th Annual American Indian art show/ san francisco. These two historic shows combine to create the major event of the year in the US for Tribal and American Indian Art. It will offer the largest presentation of its kind with international galleries, dealers and Native artists presenting the very best in Indigenous art from around the world. The benefit preview opening is Friday, February 18th from 9AM to 5PM and costs $25. All proceeds will benefit Indigenous Celebration New Mexico 2022.

Steve Smith Kwagiulth; on offer by Buffalo Barry’s Indian Art

Punu Mask; on offer by Galerie Flak

Log on anytime to attend the regular show days that are free to the public; February 19th through the 28th. After two hugely successful first virtual shows in 2021, Kim Martindale, co-producer of the show, is looking forward to an even larger audience this year. “We’ve upgraded the virtual platform so the user experience will be even better than last year’s very successful first virtual show.”

John Morris, the shows’ co-owner along with Martindale, added, “We’re all striving to find creative ways during this time for our exhibitors and art-lovers to connect with so much uncertainty at physical venues. We are looking forward to adding the live shows back in san francisco as soon as we can,” he stressed.

Usually held at Fort Mason in san francisco, COVID-19 caused the organizers to quickly take the shows online in 2021. It was a huge success—fairgoers from more than 35 countries signed on in droves to the virtual shows to see art on offer from more than 100 exhibitors, also from around the world With many people now used to virtual fairs, and a robust marketplace for tribal art, show organizers predict even better virtual attendance this year.

show details:
The 36th Annual San Francisco Tribal & Textile Art Show is a preeminent, international art fair devoted exclusively to top-tier works from Africa, Asia, Australia, Oceania, and the Americas. Over 50 national and international galleries and exhibitors will offer museum-quality objects and artifacts, making this the perfect event for collectors and enthusiasts alike.

Running concurrently, the 38th American Indian art show/ san francisco is the most significant showcase of American Indian art on the west coast, emphasizing antique American Indian art and the best in contemporary American Indian art.

Over 65 discerning art dealers will present in combination.

Virtual preview: February 18, 2022 (Friday) Admission $25
San Francisco Tribal & Textile Art Show Virtual Benefit
9 AM to 5 PM PST

American Indian art show / San Francisco Virtual Benefit
9 AM to 5pm PST

General Admission Show Hours for both shows: Admission is Free
February 19, 2022 (Saturday): Shows open at 10:00 AM PST and remain open until February 28, 2022 (Monday) when shows close at midnight PST.

Both shows the San Francisco Tribal & Textile Art Show and the American Indian art show/ san francisco will be available through www.ObjectsofArtShows.com.

For expert interviews and photographs contact Clare Hertel Communications at 505-670-3090 or at [email protected].

SOURCE Objects of art show

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(Ab0ve): Unidentified participants at Asian American Pacific Islander Youth Rising Rally marching from Aquatic Park to the pedestrian 80 freeway over pass. (Shutterstock/Siliconeer)

Since March 2020, the web portal Stop AAPI Hate has logged 10,370 reports of hate incidents, 16 of which have been physical violent attacks. Elderly Asian-American women have been especially vulnerable. Just in the last month two middle-aged women, one young woman and one more middle-aged women, both were killed in New York.

At an Ethnic Media Services briefing, held Feb. 25, panelists—Sung Yeon Choimorrow, Executive Director, National Asian Pacific American Women’s Forum; Marita Etcubanez, Senior Director of Strategic Initiatives, Asian Americans Advancing Justice; Michelle Kang, General Secretary of the Atlanta Korean Committee against Asian Hate; and Sasanna Yee, inspirational speaker and yoga teacher – discussed how communities have responded. A Siliconeer report.

(Above, left): Marita Etcubanez, Senior Director of Strategic Initiatives, Asian Americans Advancing Justice (AAJC); Michelle Kang, Secretary-General, Atlanta Korean American Committee Against Asian Hate; Sung Yeon Choimorrow, Executive Director, National Asian Pacific American Women’s Forum; and Sasanna Yee, San Francisco-based mindful movement instructor and community wellness activist. (EMS)

Song Yeon Choimorrow provided a historic perspective as to how we got here and why women are such frequent targets of anti-Asian hate. “The rise in coverage of the murders and the violence against our community, particularly Asian American women, we must note that while the pandemic and the rhetoric of the former president blaming China and Chinese people for starting the virus and the pandemic may have dramatically increase the incidences of hate against AAPIs, it’s certainly not something new. As Asian American women, many of us felt living in the United States, long before COVID, and my personal experience – I came to the United States as an international student and there are a number of times I’ve been approached by men in social gathering spaces who sexually harassed me because of my race.”

“Objectification of Asian American women is nothing new and the pandemic has just exasperated this for many of us. Asian American women, in particular, experience increased harassment because we are targeted both for our race and our gender, as Stop AAPI Hate has reported,” said Choimorrow.

“In America, we see the rise of the demonization of Asian women as ‘dragon lady,’ as seen in a movie and on the other hand Asian women are also depicted as submissive and referred to as ‘geisha girl,’ ‘China doll’ and ‘lotus blossom.’ These are not favorable terms but rather a way to hyper-sexualize Asian women that makes American general public think that we’re easy targets for sexual and other forms of harassment.”

“In 1966, sociologist William Peterson coined the term ‘model minority’ to describe Japanese Americans for their success after World War II. Peterson in essence says Japanese Americans are successful because their cultural values ​​and good ethics. This idea of ​​Japanese Americans then applied to different Asian and Asian American ethnicities. The stereotype that Asian Americans are smart, hardworking, and will be submissive and quiet, also leads to vulnerability and bullying which many Asian American students and workers faced even before the pandemic.”

Choimorrow also talked about the deadly Atlanta Spa shooting victims, the references made on US television shows like ‘Gilmore Girls’ and ‘Lane Kim,’ amongst some of her examples.

Marita Etcubanez of Asian Americans Advancing Justice spoke next discussing strategies the community has developed to protect itself as well as Federal legislation addressing hate crimes. “While hate crimes and hate incidents are still underreported, we have seen more people reporting both hate crimes and hate incidents, some to law enforcement, but also to community organizations like Asian Americans Advancing Justice, and our Stand Against Hatred website as well as Stop AAPI Hate.

“We have seen more people joining in demanding community-oriented solutions to public safety. It has become clear to us that people are very eager to learn about what they can do as individuals to help stop Anti-Asian hate and harassment. Since launching, our joint bystander intervention trainings in the Spring of 2020, Asian Americans Advancing Justice affiliates in Illinois, California and DC have reached and trained about 150,000 people.

“We are building a community of people who are trained, and ready to take action, and intervene, when they see or experience anti-Asian hate or harassment. We marked a victory with passage of the Covid 19 Hate Crimes Act, a Federal bill that passed with overwhelming bipartisan support.

“It requires the Justice department to formulate guidance for law enforcement agencies and others on creating online reporting systems for hate crimes and hate incidents, including making those systems accessible for people with limited proficiency in English.

“We were furious and frustrated over the attacks and killings of eight innocent people and six were Asian women in Georgia,” said Michelle Kang of the Atlanta Korean Committee against Asian Hate.

“Why we need to include Asian American history in K-12 curriculum? – In May 2021, to dispel the misunderstanding and lack of knowledge that Asian Americans are foreigners, there is a long history of Asian immigration into the US starting from the mid 1800s, we fight to ensure our voices as Asian, Black, Brown, Hispanic , Pacific Islanders and Native Americans are not forgotten within American history, and demand that each student have the right to see themselves in their school curriculum,” said Kang.

Sasanna Yee, inspirational speaker and yoga teacher, took to yoga to help victims who have experienced trauma, overcome their tragedy. Her grandmother was fatally attacked in a San Francisco park in 2019.

There are countless incidents, some reported but most go by unnoticed. It’s time to be American in the true spirit and embrace all communities as equal and treat them with equal dignity.

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Like many new homeowners, Kevin Sawyers and Peter Steinauer knew they wanted to make some changes when they bought a house in the Dolores Heights neighborhood of San Francisco in 2015.

And as an interior designer, Mr. Sawyers, now 53, the founder of Sawyers Design, figured he might go further than most in updating the look of the place. (Mr. Steinauer, 51, is a software engineer at Apple.) But even he didn’t realize how much the project would eventually expand — that it would include a top-to-bottom, almost total rebuild of the house.

“It was very rustic, with a lot of wood, and sort of dilapidated,” Mr Sawyers said. The house had been updated and expanded in fits and starts after the original portion was built in the early 1900s, which had created an awkward hodgepodge of architectural styles.

Kevin Sawyers, left, and Peter Steinauer renovated a house in San Francisco with help from the architecture firm Jones Haydu. Credit…Matthew Millman for The New York Times

Nevertheless, he and Mr. Steinauer liked the way the home was set back from the street on a steep hill, and they were awe-struck by the enormous Monterey cypress tree in the backyard. They bought the property for $2.1 million that March, knowing that the loose floor tiles, beige carpeting and 1970s appliances would all have to go.

“I wanted to put a modern layer on the house, for sure,” Mr. Sawyers said. “I had grand ideas for what we could do on the inside — basically gutting it, which we did — but everything eventually changed on the exterior, too.”

The couple moved in before starting the renovation, and the longer they lived there, the more they sensed opportunities to make some big architectural moves. For help, Mr. Sawyers contacted Hulett Jones, a partner at the architecture firm Jones Haydu, whom he had worked with at the architecture and design firm Gensler before the two founded their own studios.

“I went with an architect instead of just trying to do it on my own, because I did want that bigger vision,” Mr. Sawyers said. “I had some ideas about what it could be, but they really just took it somewhere else and created a much larger project than we had anticipated.”

The footprint of the house, which wouldn’t be permitted under current zoning regulations, provided some unique opportunities, Mr. Jones said: “The nice thing about the house being sited at the rear of the property is that it gets these amazing views downtown and north, and great views from different angles, which became a driving factor of the design.” He and his partner, Paul Haydu, also wanted to create sightlines to the big tree in back.

Jones Haydu eliminated many interior walls and added new floor-to-ceiling windows, along with decks at various levels, to open up the home. At the first floor, which was elevated above the street and had been used as a stand-alone workshop, they added a cantilevered addition on the front that contains a guest suite and shades a new patio below. Behind the guest suite, they designed space for Mr. Sawyers’s home office, which is large enough to accommodate a few employees, and added a staircase that connects it to the rest of the house.

In the second-floor living room, they blew out walls that had just a few windows and replaced them with floor-to-ceiling expanses of glass under a cathedral ceiling, again pushing a few feet closer to the street. To create more headroom for the third-floor primary suite, they raised the roof and changed its pitch. In the primary bathroom, they positioned a free-standing tub in a nook with glass walls.

“That’s probably my No. 1 favorite thing in the house,” Mr. Sawyers said. “You’re sitting in the tub and can look out the window up to Twin Peaks. It just makes you feel like you’re in this glass box.”

For exterior cladding, Jones Haydu replaced the old cedar-shingle siding with a mix of standing-seam metal, used as roofing and siding, and cedar slats.

With such a modern, clean-lined architectural envelope, one might expect a series of pristine white boxes inside. But that wasn’t going to happen on Mr. Sawyers’s watch. To create a personal color palette, he drew inspiration from unusual sources: a luxurious Tibetan coat and the sets of the 1980 movie “American Gigolo.”

“I was thinking about making ourselves look and feel as good in this home as we could,” Mr. Sawyers said, much the way the sets in “American Gigolo” flattered Richard Gere. “I wanted to create this set that was for us — for me and Pete.”

The result includes walls painted in Benjamin Moore colors like Grape Juice (inspired by the saturated tones in some of the movie scenes); kitchen cabinets finished in teal (which served as a foil for the warm colors, as it did in the movie); a leafy wallpaper mural on one kitchen wall; and a living room fireplace surround Phillip Jeffries grasscloth painted with gauzy clouds.

It took two years of construction, at a cost of more than $1,000 a square foot, but the couple finally moved back in to their largely rebuilt 3,200-square-foot home in September 2020, confident that they had created a one-of-a -child acc.

“It’s fun, it’s open and it embraces the outside as much as possible,” Mr. Sawyers said. It’s also filled with unexpected personal touches, which is the point: “It just really fits our lifestyle.”

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Diego Rivera, The marriage of the artistic expression of the north and the south … [+] Continent (Pan American Unity), 1940.

© Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico DF / Artist Rights Society (ARS), New York. Courtesy City College of San Francisco.

Before Diego Rivera was Mr. Frida Khalo, Frida Khalo was Mrs. Diego Rivera. During their tumultuous relationship, Rivera was one of the most famous artists in the world. It would be nearly half a century after her death in 1954 for Khalo to be similarly exalted, and her fame now far surpassed his.

A breathtaking memento of Rivera’s talent can be seen at the San Francisco Museum of Modern Art in the summer of 2023. The marriage of northern and southern artistic expression on the continent, better known as the Pan American Unity Mural, is on loan from the City College of San Francisco while its permanent home at the CCSF is being renovated.

Created for the 1940 Golden Gate International Exposition, the mural is a living, 10-part “portable” fresco depicting a past, present, and future that the artist believed shared across North America. Completed with the assistance of local artists and assistants, using scenes from the Bay Area as a backdrop, the mural celebrates the creative spirit through portraits of artists – including Kahlo – craftsmen, architects, and inventors who use art and technology as tools to shape society.

As amazing as the mural is – 22 feet high by 74 feet wide and made up of ten frescoed panels – the move of the artwork from CCSF to SFMOMA was almost as impressive.

abstract

Atthowe Fine Art Services workers remove Pan American Unity’s central lower panel from the wall … [+] at the Diego Rivera Theater of the City College of San Francisco.

Image: Katherine Du Tiel / SFMOMA.

This exhibition is the culmination of four years of extensive research, research and preparation that brought the two institutions together as well as scientists from the National Autonomous University of Mexico (UNAM), an international team of restorers, Diego Rivera fellows and Atthowe Fine Art Services, a local Expert in art removals and rigging. These teams examined the technical, conservation and scientific requirements to move such a monumental and fragile work of art.

“Removing the first large board from the CCSF cinema wall was the most frightening thing for me,” Michelle Barger, SFMOMA’s director of conservation, told Forbes.com. “The fragile fresco, which measures just under 5 square feet and is only 1¼ inches thick, had to be cut from a 12-foot thick concrete wall and carefully removed from an impossibly tight fit with no room for error.”

The extraction of the first plaque by Atthowe Fine Art Services and Sheedy Drayage began in April 2021 and the first plaque arrived at the museum on May 2nd.

“All of this happened while the panel was suspended blindly from ropes threaded through the roof of the building and held outside by a huge crane,” added Barger.

Weighing in at over 60,000 pounds and covering nearly 1,800 square feet, the mural had been embedded in the Diego Rivera Theater at the CCSF since 1961. The masterpiece was stored 20 years earlier.

Truckin ‘

A large blackboard on Howard Street outside SFMOMA is waiting to be craned over the power cables … [+] and rolled into the museum.

Image: Katherine Du Tiel / SFMOMA.

One obstacle overcome – the safe removal of the plates from the CCSF – the next challenge was to get the huge plates to the SFMOMA, eleven kilometers away. Tractors with flatbed trailers were the answer.

Prior to shipment, two full-size replica panels were constructed and subjected to vibration and torque tests in a laboratory to create a database of stress effects on the mural. Using this data, the researchers created a system of sensors attached to the surface of the mural that enabled the UNAM team to monitor the panels in real time from the truck cab as it was being dismantled and moving through San Francisco make sure they were exposed to as little stress as possible.

The drives started at 4:00 a.m. on Sunday morning to minimize traffic.

“SFMOMA employees followed a route dictated by the city of San Francisco in their cars,” said Barger. “Due to the oversized height of the panels and the extremely low loading area – it was less than 30 cm above the ground – we had to avoid hills, MUNI bus routes and underpasses because we couldn’t clear them. Not an easy job in San Francisco! The drive usually takes less than 20 minutes by car, but it took up to two hours because we had to stay below five miles an hour to prevent vibrations from building up and causing damage. “

Tight pressure

Few buildings in the world are spacious enough to house the presentation of the works of art. The street level Roberts Family Gallery at SFMOMA, where the mural can be seen, was purposely designed to show large-format installations of contemporary art. Pan American Unity fits perfectly.

“It’s just tall and wide enough to safely install and display this massive work of art,” said Barger. “You have to have a few meters of free space for the portal system (hoist), and we only have centimeters free. Likewise, the largest wall panels simply fit into the posts (dividers) of a removed glass window. “

In the gallery, the wall panels are attached to a steel structure that offers both stability and a versatile fastening system so that Pan American Unity can be safely moved and displayed again in the future. This system is replicated when the mural is returned to the CCSF’s new Performing Arts Center.

Pan American unity

A large upper panel and a small lower panel await installation in the Roberts Family Gallery at … [+] SFMOMA.

Image: Katherine Du Tiel / SFMOMA.

“For years I have had the feeling that the true art of America must arise from the fusion of machinism and the new creative power of the north with the tradition rooted in the soil of the south, the Toltecs, Tarascans, Mayas, Incas, etc., and would like to choose that as the theme for my mural. ”Diego Rivera described his vision for the project in April 1940.

Pan American Unity offers an expansive panorama of the Bay Area that combines idealized scenes of cities before the conquest of the Valley of Mexico City (left) with depictions of the development of Northern California (right). Rivera’s imagery ranges from ancient civilizations to Bay Area architectural icons, including the Golden Gate Bridge and Alcatraz.

At the center of the mural is a towering figure that combines a sculpture of the Aztec earth goddess Coatlicue with modern machines. Around him he depicts many notable contemporary and historical figures from all over the continent: inventors and their inventions (the ruler of Texcoco Nezahualcoyotl from the 15th, Miguel Hidalgo y Costilla, Joseph Stalin, Benito Mussolini and Adolf Hitler), artists, architects and actors.

Producing this amazing level of detail in this format remains an enormous achievement.

“With fresco painting, the clock resets itself every day and you have to finish your composition while the plaster is still wet,” explains Barger. “The ambitious scale of this mural and the limited timeframe of the summer exhibition meant Rivera had to work fast and cover large areas every day, often over four feet wide. I am overwhelmed by the complexity of his multi-layered narratives and his masterful brushwork, all of which were achieved under these very restrictive conditions. “

Rivera also included current events in the composition.

In a lower panel, he refers to scenes from Hollywood films such as The Great Dictator, Confessions of a Nazi Spy and All Quiet on the Western Front to draw attention to the growing threat posed by fascism and the United States to join World War II to encourage.

With so much eye candy, every guest is attracted to something different.

“I keep coming back to Rivera’s masterful portrayal of a woman diver soaring high above San Francisco Bay,” said Barger. “Subtle shades characterize the otherwise raw plaster of your white swimsuit.”

Pan American Unity can be visited for free at SFMOMA.

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