Al Wong graduated with an MFA in 1971 from San Francisco Art Institute, and is now a professor there. This piece installed in 1994 of Ceramic Frit Marquee Glass is owned by the City of San Francisco and was Commissioned by the SF Art Commission for the San Francisco Fire Department.
This mural entitled “No One is Illegal” is by Laura Campos. Laura was born in Mexico and grew up in Texas. While young, and not yet legal she was called an illegal alien on a regular basis. When she did become legal she was still called an “alien”. This is the reason she tends to paint aliens. Her work has helped her work through her feelings for that word.
She does not use spray paint, and the brushes she uses are exceptionally small so all her work takes a very long time. She worked well over three weeks on this particular one. She doesn’t seem to mind the time, she loves to talk to neighbors and people walking past just to get their input. I spoke with her, she does love to talk, she is absolutely delightful and full of life.


This was done in 2008, and is showing it’s age. But the elegance of it is worth showing, even in its present state.
Swoon is a street artist originally from Daytona Beach, Florida. She moved to New York City at age nineteen, and specializes in life-size wheatpaste prints and paper cutouts of figures. Swoon, real name Caledonia Dance Curry, studied painting at the Pratt Institute in Brooklyn and started doing street art around 1999.
Swoon’s paste works depict realistically rendered people, often her friends and family, on the streets in various places around the world. Usually, pieces are pasted on uninhabited locations. Her work is inspired by both art historical and folk sources, ranging from German Expressionist wood block prints to Indonesian shadow puppets.
This piece comments on the disappearance of young Mexican women ages 16 – 24; whose disappearances have not only been neglected, but disregarded by Mexican government officials. There are many skulls, which may comment on the vast amount of girls who have gone missing. On close inspection you can also see monarch butterflies and feathers, symbols of flight. According to Mexican folklore, the butterflies are said to present themselves as family members who have passed on.
Right next to the bright and colorful Amate Mission mural by Jet Martinez, is this fascinating mural. It is a partial reproduction of an original found behind the altar of Old Mission Dolores. The original was believed to be painted by Mission Indians somewhere between 1791 and 1796.
Here is all the information in the Jet Martinez’s own words:
“When Ben [Ben Wood, the freelance artist who, along with archaeologist Eric Blind, photographed the mural by lowering a camera behind the 18th-century altarpiece blocking it from view] approached me, I didn’t want to do it. I grew up in Mexico. I saw a lot of murals of priests saving the souls of kneeling Indians. And this mural is really about the Catholic missionaries’ oppression of the natives. They painted those hearts — the Sacred Heart of Jesus, the Sacred Heart of Mary — because that’s what the missionaries told them to do.
This mural, by Oakland-based artist Jet Martinez, was created in partnership with The Mission Community Market, the SF Arts Commission “Streetsmarts” program, and the Mexican Museum. The title “Amate Mission” is a double entendre, according to Jet:
1. Amate style painting with a Mission District flair. (Including the ever ubiquitous deer that always seem to pop up in Mission District art).
2.”Amate” when spoken in a Central American accent means “love yourself” and in essence, “Love the Mission”
It is based on reinterpretations of traditional Mexican folk arts. According to Martinez, the title refers to a style of painting usually done on paper made from bark from the amate tree. The style is thought to have originated with the Otomi Indians in the state of Guerrero, but it’s now practiced by many artisans throughout Mexico.
A parklet is a small urban park, often created by replacing several parallel parking spots with a patio, planters, trees, benches, café tables with chairs, and/or bicycle parking. Parklets are designed to provide a public place for citizens to relax and enjoy the atmosphere of the city around them, in places where either current urban parks are lacking or if the existing sidewalk width is not large enough to accommodate activities.
The movement in San Francisco began as a temporary action. Taking over a few parking spaces on a city organized date and decorating them. The city had sought quick ways to add to the supply of open space within already developed commercial areas. Businesses pay permit and construction costs and agree to maintain the spaces. In return, they create a pedestrian attraction, often outside their front doors. Startup costs for a parklet include fees of nearly $1,000 to apply and have a site inspection, plus $650 for the removal of two parking meters and a $221 annual fee.
After six were approved on a trial basis, the program took on a life of its own. The first two rounds of proposals attracted 71 applications.
This is the very first one built by a homeowner, and allows him access to his garage, not for a car but for his many bicycles. The owner Amandeep Jawa explains the project very well.
Mid market is a desolate stretch of abandoned store fronts and SRO’s. This long frontage of boarded up building has been covered by an artist known as Chor. This is not any random street painter, Chor has a worldwide body of work, including a commissioned piece for the Beijing Olympics. His website
displays his incredible talent, and his blog is loaded with fabulous images of his work.
I had the privilege of seeing some of his art gallery work at “The City We Love” showing at 941 Geary street. If you are in the neighborhood, drop in and ask about him. The piece below is on Clarion Alley in the Mission District. Chor has also done it on a smaller scale, and it is on display at 941 Geary.
This is in the center of A.P. Giannini Plaza. A.P. Giannini was born in San Jose, California and was the Italian American founder of the Bank of America. He founded the Bank of Italy in 1904. The bank was housed in a converted saloon directly across the street from the Columbus Savings & Loan as an institution for the “little fellow”. It was a new bank for the hardworking immigrants other banks would not serve. He offered those ignored customers savings accounts and loans, judging them not by how much money they already had, but by their character. His role in the 1906 earthquake is stuff of legends, he got the money out of the bank and drove it on a horse drawn wagon to his own home down the peninsula. This was vital as the city began to come back to life, he had some of the only accessible money after the fire. (others were afraid to open vaults to soon knowing the money in hot vaults could be ruined if they did so). A.P. had money to start loaning out and getting the economy back on its feet quickly. His history is one of greatness, and worth reading about if you get a hankering.
This piece is called Transcendence by Masayuki Nagare and is made of 200 tons of black Swedish granite.
Wikipedia tells of Nagare’s life. “born February 14, 1923, is a modernist Japanese sculptor who has the nickname “Samurai Artist”. In 1923, he was born in Nagasaki, to Kojuro Nakagawa, who established Ritsumeikan University. As a teenager, he lived in several temples in Kyoto where he studied the patterns of rocks, plants and water created by traditional landscape artists. In 1942, he went on to Ritsumeikan University where he studied Shintoism and sword-making, but he left before graduation. Afterwards, he entered the naval forces preliminary school, and experienced the end of the Pacific War as Zero Fighter pilot. After the War, he learned sculpture by self-study while roaming the world. Nagare’s works include “Cloud Fortress” which was destroyed at the World Trade Center.”
He has a website that does have an English Translation page.
This piece was dubbed “The Bankers Heart” by famous San Francisco Chronicle columnist Herb Caen. When NationsBank acquired BofA in 1998, a joke making the rounds said conquering Chief Executive Officer Hugh McColl Jr. was going to hijack the sculpture to the bank’s home office in Charlotte, N.C. NationsBank adopted the BofA name and took most of its operations but left its “heart” in San Francisco.
This piece was commissioned in 1969 during the construction of the building.
Claude Lane is a small alley that runs between Bush and Sutter Streets in San Francisco. It began developing in 1989 when Cafe Claude opened up with an alley entrance. It blossomed over the years and now rivals Belden Place for shopping, dining and that European cafe experience.
Mear painted this mural on the side of Gitane Restaurant at the behest of its owner. This was done in co-operation with that wonderful group 1:AM that have been in this website before. I talked to Mear via phone, as he lives in L.A. and he told me he drew his inspiration from all the colors that were in the alley, and the symbolism of people sitting and enjoying the food and the space.
You can see that vast amount of his accomplishments at his website.
It is hard to believe that a website dedicated to art is going to talk about a parking garage, but that is what makes this job so fun. This is the North Beach Garage at 735 Vallejo Street. The work was commissioned by the SF Arts Council in collaboration with the Department of Parking and Traffic under the guise of our two percent law, requiring two percent of the construction budget of a new public building have an art enrichment allocation.
Two local artists featured the faces of the Chinatown/North Beach community people in 11 ceramic steel portraits, on the exterior wall of the parking garage.
Harrell Fletcher and Jon Rubin went to neighborhood shops, offices and restaurants in search of family photographs, which they scanned and enlarged onto the durable ceramic steel.
This is courtesy of the San Francisco StreetSmARTS program, funded by the Department of Public Works. According to their website “It is by artist, Robert Harris. For this mural, Harris creates an urban/abstract landscape that offers a renewed perspective of the city’s shapes and textures. Featuring a composite of historical and contemporary views of Market Street looking towards the Ferry Building, the mural presents a timeless scene of overlapping decades. Above the city skyline, a series of paintbrushes drip bright colors becoming a metaphor for San Francisco’s creative spirit. Bordering the bottom of the mural, brightly colored painted tiles- the building blocks of the city- symbolize Market Street’s culturally diverse environment.”
San Francisco based Harris, formally studied art in San Diego, Australia and Turkey, He received his BA in Fine Art from San Diego State University in 2006. He was recently was appointed a curatorial position at the SFO Museum.

Walking this section of Mason street, I noticed a profound difference in its essence. It was far cleaner, and brighter than I remembered from the past. This is most definitely due to two new housing buildings that have recently gone up. This one is 125 Mason Street and is the GEDC Family housing. Glide Economic Developement Committee is part of the Glide Memorial Family. The front of the building is covered with these wonderful three dimensional sayings, that lend a sense of respect to the building.
The installation is by Mildred Howard. The Chronicle describes Howard thusly: Mildred Howard takes full advantage of the latitude that modernism won for artists in the use of materials and expressive idioms. She has used photographs, glass, architecture, housewares and other found objects of all kinds.
Because she maneuvers so freely within the conceptually soft borders of “installation” work, people tend to think of her as a sculptor, but she prefers the vaguer, more open term artist.
A native San Franciscan, Howard, began her adult creative life as a dancer before shifting her energies to visual art.
Her work has appeared in exhibitions around the world and has garnered numerous awards, including the San Francisco Art Institute’s Adaline Kent Award, and fellowships from the Flintridge and Rockefeller foundations and the National Endowment for the Arts.

This is on the corner of Commercial Street and Grant Avenue in Chinatown in San Francisco. This one is now protected by plexiglass. I am not sure what that means, street art evolved into high art? Building owner wants it to remain to bring more people to his stores vicinity? I am stumped. The colorful piece was done afterwards by Twick.
If at first you don’t succeed, call an airstrike. This is at the corner of Broadway and Columbus in North Beach.

On the side of Hayes & Kabob – a terrific Mediterranean restaurant – there are these bright and happy dog murals.
In front of the restaurant is a parking lot that used to be an “Elder Art Park” Fortunately, at least these pieces remain.
Because it is a parking lot, I had to shoot this at an angle, but it is called “Hula-hooping Dog” by Delaine Hackney A local mosaisist, Delaine once owned a dog grooming service, her love of dogs is obvious.

The Haight – San Francisco
Miles “Mac” McGregor. Goes by The Mac or El Mac. According to his own website El Mac was “born in Los Angeles in 1980 to an engineer and an artist, Mac has been creating and studying art independently since childhood. His primary focus has been the lifelike rendering of human faces and figures. He has drawn inspiration from the surrounding Mexican & Chicano culture of Phoenix and the American Southwest, religious art, pin-up art, graffiti, and a wide range of classic artists such as Caravaggio, Mucha, and Vermeer. He began painting with acrylics and painting graffiti in the mid ’90s, and has since worked consistently towards mastering his signature portrait style. Around 1998 he began to paint technicolor aerosol versions of classic paintings by old European masters. This led to being commissioned in 2003 by the Groeninge Museum in Brugge, Belgium to paint his interpretations of classic Flemish Primitive paintings in the museum’s collection. He has since been commissioned to paint murals across the US, as well as in Mexico, Denmark, Sweden, Canada, South Korea, Belgium, Italy, The Netherlands, Puerto Rico, Spain, France, Singapore, Germany, Ireland, and Vietnam.”
While I am grateful for the murals that he has done in San Francisco, please go to his website and check out some of the amazing work he has done around the world. If you go to the spraypaint section and get as far as page 9, you will find, what I hesitate to label as my favorite, but certainly worth seeking out – Young Scribe.
San Francisco
There are so many wonderful building on the Van Ness Corridor, sadly, most people are driving either in or out of San Francisco and much to busy to notice them. This building is near Market Street, not far from City Hall, if you are in the area, take a stroll.
The High School of Commerce, designed by John Reid, Jr, was built in 1926-1927. In 1952, Commerce became the central office for the school district and has remained in that use ever since.
John Reid, was born in San Francisco in 1879, he attended Lowell High School, UC Berkeley and Ecole de Beaux Arts. He was the brother-in-law of Mayor “Sunny” James Rolph. He became city architect in 1911 after the untimely death of Newton Thorp, another prominent architect of the time.
This classic Spanish Colonial Revival grabs my heart whenever I go by it for the wonderfully sculpted faces on the column capitals at the front door.
Thanks to the efforts of Colonel Thomas Hayes, Hayes Valley became the first outlying area of the vast Western Addition to develop. Hayes was born in 1823 in Ireland. Afflicted by gold fever, Hayes and his two brothers set sail for San Francisco, and acquired a 160-acre tract through the use of a preemption deed—effectively exercising squatters’ rights. His claim was confirmed by the Van Ness Ordinance in 1855. According to historian Bill Kostura, the boundaries of Hayes’ property can by described thusly: “This tract began near the intersection of Fulton and Polk streets, ran northwest to Turk and Laguna, thence southwest to Oak and Webster, thence south east to a point just south of Market Street, and finally northeast to the point of commencement.”
Hayes initially tried farming but he soon discovered that fog, wind, and shifting sand dunes confounded his efforts. Isn’t it fun what 100+ years and the destruction of a freeway can bring.
The farm is the result of the destruction of the Central Freeway after the Loma Prieta earthquake. It is there on a temporary basis, as a city sanctioned temporary green space. It is a wonderful use of a neglected and ugly scar on the landscape.
It is no secret that I consider graffiti to be an art form. Do not confuse that with tagging, (those single color scribbles) or bombing (just really, really large tags) which fall into a whole other category. But the question is, where does graffiti leave off and art begin. I can not, nor do I want to, answer that question. The above is why I am on this subject. This fabulously colored wall is by a graffiti artist known as Pastime. So is this just graffiti, or is it a fabulous piece of art?
Pastime is a member of the Lords. According to Graffiti blog Graffhead the:
LORDS Production Crew has been operating in San Francisco for almost two decades, manipulating the stark walls of the urban landscape to make the wasteland a tad more livable for those of us lucky enough to notice and appreciate their nocturnal artwork. For example, the wall across from Amoeba Records on Haight is one of their collaborative murals, generally referred to as “productions” in graffiti lingo. LORDS members have been featured in the documentary ‘Piece By Piece’ (chronicling 20 years of SF graffiti), as well as the independent feature film ‘Quality of Life’ (a fictional drama about SF graffiti writers).
the trees have grown to cover so much of the mural, but if you are in the neighborhood, stop by and take a look.