This mural was painted by Brooke Fancher in 1987. It is titled Tuzuri Watu (Swahili for “we are beautiful people”). It is a tribute to Afro American culture inspired by black women writers. The design shows scenes of black peoples’ lives, rural and urban, with a strong emphasis on community and family life. Quotations from the works of five black women authors appear throughout the mural. Fancher explains her choice of location and topic by saying that “A lot of people don’t even know about black women writers. Their work is part of the self-affirmation of people learning about their culture, and the mural seems a good place to proclaim it.”
Sadly the age of the mural has rendered most of the sayings illegible.
Part of the business of living in the world and triumphing over it has to do with the sense that there’s some pleasure – Toni Morrison
Lenora LeVon Riley was a fashion designer from San Francisco whose work was prominently displayed in Ebony and Jet Magazine.
Bryana Fleming is a native to the Bay Area who resides in Mill Valley, California. Both of her parents were working artists, and she instantly became interested in art from a young age. (Her father was a storyboard artist and her mother, a fine art painter.) Bryana attended the California College of the Arts from 2000-2004, receiving a BFA in illustration
3495 16th Between Sanchez and Dehon
Castro District
Colette Crutcher is a multi discipline artist. Her career began with painting and printmaking, but now covers a broad spectrum, from very large to very small, from public to intensely personal, from abstract to figurative, and across a range of media: painting and drawing, collage, assemblage, paper mache, concrete, ceramic and mosaics.
According to Collete’s website: This mural is a renovation of La Madre Tonantsin, a similar mural I painted there in 1991. The original fence was rotting, and along with it the mural. A grassroots fundraising campaign, helped by a grant from Precita Eyes, enabled me to create this new version. Rather than sticking to paint alone, I incorporated a variety of semi-sculptural media. (The mural was done in 1998)
The piece was made for the headquarters of the Instituto Pro Musica, an organization dedicated to the performance of music old and new from Spain and Latin America. I sing with their choral group, Coro Hispano de San Francisco, and used my artwork to express feelings evoked by this powerful musical heritage. The goddess represented is Tonantsin, the mother of the Aztec gods. I am not particularly well-versed in pre-Columbian religious practices; I just used the theme as a springboard for my imagination.
Willie Woo Woo Playground
Chinatown
Sacramento Street and Waverly Place
Willie Wong(b:1926,d:2005) was a Chinese-American basketball player who was born and raised in Chinatown, San Francisco. Though Wong was only 5’5″ tall, he excelled, and was known as one of the finest Chinese-American basketball players in the 1940s. He was nicknamed Willie “Woo Woo” Wong by a local sportswriter because fans would shout “Woo Woo” when he scored. He starred at Poly and Lowell high schools in San Francisco before being recruited to the University of San Francisco (USF). After playing for USF, Wong continued to compete at various local and national tournaments as part of the San Francisco Saints team. Wong died on September 5, 2005 at the age of 79 in Fremont, CA.
This mural was painted by Jim Dong in 1986. Dong is now the Drawing, Painting, Printmaking, Graphic Design, Digital/Film Photography and Art History teacher at Kamehameha High School/Kapalama Campus of Hawaii. He holds a Master of Arts Degree in Printmaking & Drawing from California State University, San Francisco and a Bachelor of Arts Degreein Printmaking & Drawing from San Francisco State College. He was the Art Instructor for the Ethnic Studies Department at the University of California, Berkeley, andat the San Francisco State University. He was the Director of the Kearny Street Workshop, the oldest Asian Pacific American multidisciplinary arts organization in the country.
This beauty is by BODE, CUBA and Stan153. With Love and Respect for Moebius.
Jean Henri Gaston Giraud (8 May 1938 – 10 March 2012) was a French comics artist who earned worldwide fame, predominantly under the pseudonym Mœbius, and to a lesser extent Gir (used for the Blueberry series). He has been described as the most influential bandes dessinées artist after Hergé. (Herge is known to most in the U.S. as the author of TinTin)
Among his most famous works are the Western comic series Blueberry he co-created with writer Jean-Michel Charlier, one of the first Western anti-heroes to appear in comics. Under the pseudonym Moebius he created a wide range of science fiction and fantasy comics in a highly imaginative and surreal almost abstract style.
Moebius contributed storyboards and concept designs to numerous science fiction and fantasy films, including Alien, Willow, Tron (1982), and The Fifth Element.
Mark Bode, son of Vaughn Bode comes by his comic style of art honestly, this tribute is heartfelt.
CUBA is the name of one of the city’s earliest known graffiti artists, still operating today. The 46-year-old Baltimore transplant moved to the Mission in 1985, when he was 21 years old. Mission Local has a terrific video of CUBA that you can watch here.
STAN153 started in 1970 in Harlem on 153rd street and 8th Avenue. He was one of the original 3 Yard Boys and one of the founding members of Master Works Productions. He has coloborated and painted with almost every top aerosol artist in New York City. From the seventies to the nineties he has been involved in the graff movement and has done 40 shows in the U.S. and Europe. He has been documented in the first graff book ever, The Faith of Graffiti by Norman Mailer, back in 1974 and Getting Up 1984 by Craig Castleman. His clothing has been featured in Fresh the book of Hip Hop by Susan Finkler.
This mural at the corner of Folsom and Division is by French artist Horfe. According to Alternative Paris: Horfe is considered to be one of, if not the leading graffiti writer in the world. Horfe has been writing his name on walls for the past 12 years, mainly in Paris, where his graffiti can be found on shop fronts, trucks, walls, train sidings and roof tops, city-wide.
His style of graffiti is extremely unique, blending typography and flat coloured illustration – it’s rumoured that Horfe attended the École Nationale Supérieure des Beaux-Arts, the distinguished National School of Fine Arts in Paris.
Horfe’s ‘dubs’ (graffiti painted quickly with no more than two or three colours), for example, are done with a naivete that disregards typical graffiti style. It is instead reminiscent of very early New York subway graffiti.
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According to the August 2012 Complex Magazine: Horfe is one of the top 25 graffiti artists around today: Horfe is a bit weird and very French. He’s the graffiti poster boy of 2012, constantly evolving and changing. Additionally, his crew Peace & Love are one of the most interesting around at the moment.
While I will admit he is excellent, I would put many of our San Francisco artists up there in the rating of some of the best.
This beauty (though sadly tagged) is by Melbourne-based artist & Everfresh member, RONE. Made possible by Rogue Projects, the wall spans more than two car lengths and is located just off Larkin and Olive.
Just at the end of the Olive on Larkin is this other lovely creature by RONE.
Rone’s posters are some of the most iconic in Australia, hiding under overpasses throughout Melbourne. He is renowned for the stylised images of ‘girls’ faces – it wouldn’t be a stretch to say that he’s had more posters in his home town’s streets than any other artist in history.
Rone is one of the original members of Everfresh Studios where he still works daily. His ‘girls’ come with him as he travels and now appear on the streets of Los Angeles, New York, London, Toyko, Barcelona and Hong Kong. Of all the stencil artists from the initial Melbourne stencil boom of the early 2000s, he is the only one still consistently putting his work up.
Rone’s art has been acquisitioned by the National Gallery of Australia, and in 2011 he sold out his first ever solo show in Melbourne before it even opened, highlighting his status as the literal poster boy of Australia’s next crop of street artists.
This piece is by Romanowski. Born and raised in Basel, Switzerland he is a DJ and painter.
According to All MusicRomanowski considers sneaking into his mother’s liquor cabinet and record collection his introduction to the DJ lifestyle. Booze and Beatles albums gave way to old school rap and early electronica, a combination he spun together at the age of 14 in his native Zurich, Switzerland. He moved to San Francisco in 1992 and soon hooked up with the Behind the Post Office collective, a group of DJs and rappers revolving around the Behind the Post Office record store. Sharing the stage with Meat Beat Manifesto and Thievery Corporation, along with DJ Shadow and Cut Chemist, at the legendary first Brainfreeze performance was a highlight of Romanowski’s early career. His debut, Steady Rocking on Future Primitive Sound, displayed the DJ’s love of Jamaica’s rocksteady music filtered through playful electronics. Besides his musical output, Romanowski is an artist associated with the Curators collective and has had his work shown in Hong Kong, Tokyo, Los Angeles, and Seattle’s edgier galleries.
This piece is by Meggs. Growing up in the Eastern suburbs of Melbourne, David ‘Meggs’ Hooke, immersed himself in the worlds of drawing, cartoons, sci-fi films and skateboarding. In 2000, Meggs graduated from University with a Bachelor of Design and soon after became recognized for stencils and poster art on the streets of Melbourne. In 2004, Meggs became a founding member of the renowned Everfresh Studio a respected and unique collective of street artists known for large amounts of collaborative street work and aerosol murals.
I spoke with Dan at 1:AM and this is what he had to say about this mural:
For “Knowledge is Golden” the inspiration was specific to the area which the mural was done. San Francisco is seeing its second gold rush with information and knowledge being the currency of today. SOMA, being slated to be developed as the new downtown of San Francisco with technology leading the transformation, is why we chose this location for our message.
Gold miners have been replaced by tech innovators. Pickaxes and shovels have been replaced with laptops and desktops. Though the times have changed, the human thirst for chasing opportunity remains prevalent in these times. And with this influx of new people, San Francisco culture as we know it will never be the same.
The mural is done by Roman Cesario, Jurne, Robert Gonzalez, and Daniel Pan
This spot recently held a mural by Lango. This colorful and powerful new mural is by Ricardo Richey, also known as Apex.
Ricardo is a street artist who creates colorful abstract patterns through the use of spray paint. Part of the gestalt collective that engages in collaborative murals in San Francisco his work can be found all over town.
As you turn onto Clinton Park from Valencia the first piece you are greeted with is the beauty by Amanda Lynn. Few and Far have covered the walls of Clinton Park to the delight of all that wonder down this very short alley.
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And a little further down Valencia at Duboce, you will find another by Mags and Amanda Lynn
The bikeway will follow the path of the now-buried creek. When the Forty-Niners arrived, they filled the creek in and built a railroad on top. Now what remains is a curved urban anomaly of a street cutting through the San Francisco street grid. The trail would follow this scar and bring life and activity to the area, and connect the Mission to Mission Bay once again.The Mission Creek Bikeway will begin at 16th and Harrison Streets, winding around the nose of Potrero Hill, crossing 7th Street and the Caltrain tracks, continuing along the south side of the Mission Creek Channel and connecting with the new Giants stadium, and, of course, the waterfront. A spur of the bikeway will extend from the 8th and Townsend traffic circle along Townsend Street, connecting with the Caltrain station, where a BikeStation is also being planned.
THE VISION:
The Bikeway will reclaim much-needed open space, creating space for recreation, vegetation, and an opportunity to enhance public awareness of the environment. The Mission Creek Bikeway will also serve as a critical transportation link in a city where 1 of 25 adults relies on a bicycle for daily commuting. With one end in the Mission area — a densely populated neighborhood popular among bicyclists — and the other in South of Market (SOMA) — a quickly changing area begging for greater transportation choices, the Bikeway bridges an important gap in the city’s Bicycle Network. Once completed, a person will be able to ride a bike from most locations in the Mission district to most locations downtown and in SOMA and Mission Bay almost entirely on comfortable, convenient bike paths and bike lanes.
Lillian Sizemore has studied mosaics at the prestigious Studio Arte del Mosaico in Ravenna, Italy, Art History at the Universita de Bolgna and holds degrees in Fine Art and Italian from Indiana University. As a professional artist, educator and independent scholar, she is faculty at the Institute of Mosaic Art in Oakland and a visiting artist as the Getty Villa, in Los Angeles, The Legion of Honor in San Francisco and The Field Museum in Chicago.
Laurel True is an artist and educator specializing in mixed media, glass and ceramic mosaic and public art. She received her BA in African Art and Cultures and has studied at Studio Arte del Mosaico in Ravenna, Italy, Universite Chiek Anta Diop in Dakar, Senegal, Parsons School of Design and the Art Institute of Chicago. True is the co- founder of the Institute of Mosaic Art in Oakland, CA and has fostered education in the mosaic arts through teaching and lecturing around the world.
Mission Wall Dances is subtitled with a Robert Frost quote, “Something there is that doesn’t love a wall.”
During the 1970’s San Francisco’s Mission and SOMA areas were wracked by arson fires, many thought to be intentional. A fire that has left a large scar on the mission was the Gartland Apartments Fire.
On the night of Dec. 12, (1975) somebody poured gasoline down the Gartland’s main stairwell and ignited it. The fire spread so quickly, so intensely that even veteran firefighters were stunned.
“I’ve never heard the type of anxiety in a radio transmission that I did that night,” said San Francisco Fire Capt. Elmer Carr, an arson inspector. “Usually, everybody sounds kind of steely on the radio, but people knew that we couldn’t get to everybody. It was a horrible night for us.” Nobody was ever charged in connection with the blaze, Carr said.
The Fire Department’s report lists 14 dead, 15 firefighters injured and four residents burned. But Carr said, “There’s no way of telling how many people were in that building.
Within days the building was torn down and a hole, known as the Gartland Pit, remained for years afterwards. Continuing with the article…
(Victor) Miller wouldn’t let the issue die. First as a community organizer, and later as the editor of the neighborhood paper, (New Mission News) Miller wrote constantly about the neighborhood’s arson fires.
To keep the public’s focus on rebuilding there, Miller inspired others to reclaim the Pit. In 1983, he approached Plate and other artists and suggested they create performance art pieces there. For years, the Pit was an illegal showcase for murals, band gigs and poetry readings. Others created a mock graveyard.
Meanwhile, activists fought development proposals that they felt would change the neighborhood’s character — much as activists do today.
Finally, in 1987, after cooperation between the Mission Housing Development Corp. and the Mayor’s Office of Housing and Development, ground was broken for low-income apartments on the site. Today, nearly two dozen families live there.
The mural was painted in 2002 by Josef Norris. It was commissioned by Jo Kreiter of Fly Away Productions and was the backdrop for an aerial production honoring Victor Miller upon his death.
Dancing on the roof of the building and rappelling off its side was a small company of aerial dancers from San Francisco’s Flyaway Productions. During the free 35-minute productions “Wall Dances” traced the Gartland’s death and resurrection. The dancers portrayed everything from lovers lost in the fire to classic Mission characters, like the women who sell flowers on the street. The ethereal soundtrack featured the voices of displaced Mission residents, explaining how they define “home.”
“It’s about how people deal with displacement,” said Flyaway founder Jo Kreiter. Flyaway co-produced the piece with the Mission-based Intersection for the Arts.
The main character of this mural is Professor Wangari Maathi.
Wangari Muta Maathai was born in Nyeri, Kenya (Africa) in 1940. The first woman in East and Central Africa to earn a doctorate degree. Wangari Maathai obtained a degree in Biological Sciences from Mount St. Scholastica College in Atchison, Kansas (1964). She subsequently earned a Master of Science degree from the University of Pittsburgh (1966). While serving on the National Council of Women she began a broad-based, grassroots organization focused on women planting trees in order to conserve the environment and improve their quality of life. Through this Green Belt Movement she has assisted women in planting more than 20 million trees on their farms, schools and church compounds.
Wangari Maathai is internationally recognized for her persistent struggle for democracy, human rights and environmental conservation.
In December 2002, Professor Maathai was elected to parliament with an overwhelming 98% of the vote. She was subsequently appointed by the president, as Assistant Minister for Environment, Natural Resources and Wildlife in Kenya’s ninth parliament. In 2004 she became the first African woman to receive the Nobel Peace Prize.
She died in 2011 from ovarian cancer.
The remaining characters depicted are typical San Francisco residents. The Street Sheet, held up by the man on the left is a homeless newspaper published as a way to disseminate information and for the homeless to make money.
There were two artists on this piece.Kate Decicco and Delvin Kenobe. Kenobe is an artist who is very versatile in style from surealism, photorealism, abstraction, and illustration and animation. His goal is to create change in the world by creating socially conscious works that directly tap into the soul of the viewer.
This hamburger, and many others around town, are by Steel. He is a man in the pursuit of a good time. He enjoys good jokes, good friends and good cheeseburgers. In his spare time he does artwork in San Francisco and anywhere he travels.
Another of his talents is designing hats. Check out his “Murder at Midnight” at Goorin Brothers. Murder at Midnight is part of the 1331 Minna Line of hats by Goorin Brothers.
The 1333 Minna Line is a limited edition artist line founded in San Francisco. The collection began with a few local artist partnering and has now expanded to a universal roster of illustrators, tattooers, graffiti writers, painters, designers and photographers. The principles of community and collaboration are found in every piece.
This mural is on the Tehama Street side of the Cingular Wireless building at 951 Howard Street. It was painted as a neighborhood beautification and community enhancement project. Cingular Wireless sponsored the mural entitled “Slow Down: Children at Play,” and features the faces of neighborhood children and pets intertwined with forms that reference the shadows from the trees and architecture of the street.
Supervised by Sharon Anderson, it was painted with the help of lots of people from the neighborhood.
“Our network team is in this building,” Cingular director of public relations Lauren Garner told the Sentinel.
“We spent a lot time painting over the graffiti and when Sharon and Laura approached us to do the mural we knew it was a perfect solution because we really wanted to be a good corporate neighbor with the community because we work here as well.”
Sharon Anderson, a six-year resident of Tehama Street, related the mural history.
“My neighbor Laura Weil saw the wall and saw that it needed to have something here in this open space, so we’ve been talking for a couple of years about what to do and how to do it,” Anderson opened the press conference. “At some point I realized, ‘Hey, I’m an artist – I can do this.’ “But we needed a lot of help so between Laura and I… we just began slowly getting the Tehama Street Neighbors Association involved and we approached Cingular. “So between Cingular, Tehama Street Neighborhood Association, we came up with the mural which features shapes and forms from the neighborhood.
This was done by Victor Reyes in 2010. Reyes has several murals around San Francisco.
Reyes has been painting since the early 90s, and has shown extensively around the world in cities and countries such as Bosnia, Germany, Switzerland, Taipei, Japan, and Miami. Reyes is inspired by his peers, including a community of new California artists “The Seventh Letter,” who play an integral role in the development and motivation for his body of work. Reyes, who has no formal art training, moved to San Francisco in 1998 and took a variety of jobs for rent money – he’s a freelance illustrator now.
Reyes did the black and white on this mural that can be found on Washburn off Mission near 9th Street. The colors were done by Steel and Revok.
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This is the Mission Street side of the same building.
Amanda Lynn works by day restoring and painting motorcycles and metal sculptures. When she is not working, she paints figures on doorways and walls around San Francisco and throughout the country, usually accompanying graffiti mural productions. As well as concentrating on her fine art career of painting seductive female imagery on large scale canvases.
She studied at the Academy of Art in San Francisco and received a Bachelor’s of Fine Art with an Illustration major. You can see more of her work here on her website or here in this site.
This mural is by Precita Eyes. This is the description of the mural from their website:
The “Gigantes” mural project can be read in three concepts; History, Community, and the Future. It features Hispanic players, two of whom are Hall of Famers. Historically, the Giants have been a significant landmark for San Francisco, the Bay Area, and the community of fans who surround them. For this reason the mural includes all four stadiums to represent the four stages of Giants history in placement of the bases on a baseball diamond that stretches from one end of the mural to the other.
Beginning from the left in New York’s Polo Grounds, the mural shows a line of pitchers as follows: Juan Marchal, Gaylord Perry, and a pitcher from the Women’s League who’s been converted to a Giants player.
At the far right, framing the mural on the opposite side of “the pitch” is Giant hitter Orlando Cepeda. Will Clark hits the home run blast to the left of Cepeda in an earthquake shaken Candlestick Park at the” Battle of the Bay” in 1989.
Other Hall of Famers included in the mural from left to right are: Willie Mays, “The Catch” (in New York), JT Snow (showing some fan appreciation), Barry Bonds (hitting the 756), Willie McCovey and the Alou brothers. The team mascot is Lucille the Seal representing the days when the Giants played in Seal Stadium. Lucille is dressed in a serape and sombrero, holding a maraca to celebrate the Hispanic flavor of the mural.
The Giants community is scattered throughout the mural from the fans to the different stadiums throughout history. Because the mural is being created in the Mission District and home to many Giants fans, the mural also features the Mission Reds, the minor league team from the Mission who played at the Seals Stadium in the 1920’s and 30’s. To the right, between Candlestick and Pac Bell Parks, the skyline of San Francisco embraces a few of the Mission District landmarks such as Mission Dolores, the New Mission Theater marquee and palm trees.
“Vamos Gigantes” (Go Giants) hovers above Seals Stadium and into the Mission, representing the saying, which Hispanic fans have come to use throughout the years.
The future of the Giants is celebrated by the fans, some of which are families and friends. A coach and Jr. Giants’ teammates congratulate their team player with cheers as she hits a winning ball.
The “blast” home run ball hit by Clark is representative of baseball as the fabric of America which weaves into our culture. The ball begins at the hit and moves across the entire mural in a pattern unifying players, fans, the 756 ball, stadiums, and future Giants, morphing into the world and ending with Mays’ famous catch.
Signed Curve E. Pastime, one must assume this was done by Pastime of the LORDS crew.
Pastime has other work in San Francisco. 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). – Graffhead
Lucien Labaudt’s Beach Chalet murals: John McLaren (G.G. Park Superintendent) in left foreground on bench, with Jack Spring (later General Manager of Parks and Rec Dept.) holding redwood tree’s root ball, while behind on horseback (upper right corner) sit sculptor Benny Bufano and Joseph Danysh, then head of California Federal Art Project.
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Labaudt, following the precedent set by many of his era’s fellow artists to include other artists, depicts here Gottardo Piazzoni, a Swiss-Italian muralist who worked in San Francisco during the first two decades of the 20th century.
There are a few monochrome murals under the stairway they are also by Labaudt.
It was common for WPA muralists to place people they knew or people of note in their work. Here Lucien Labaudt inserts Arthur Brown Jr.. Brown was the Architect of City Hall (shown over his left shoulder) and architect of Coit Tower, where Labaudt worked as well.
A few scenes from around San Francisco including Japantown.
The Beach Chalet has its own fascinating history. This is however, about the WPA work found at the Beach Chalet.
Port Scene by Lucien Labaut -Beach Chalet Murals
Fisherman’s Wharf
A peaceful beach scene that incorporates some of Labaudt’s friends and family.
All the murals in the Beach Chalet were done by one artist, Lucien Labaudt. Born in France, he came to the United States in the early 1900s. He was an accomplished dress designer to the rich and famous of San Francisco High Society. He is responsible for decorating the curved walls in Coit Tower with frescoes (these frescoes are not available for public viewing). In 1936 he painted Advancement of Learning throughout the Printing Press, a fresco at George Washington High School. When asked about the limitations WPA art often came under he wrote “limitation forces one to think and therefore to create…Far from destroying the artist’s individuality, these limitations give him something to fight for. He must solve a problem. ” Labaudt died in a plane crash over Burma in 1943, on assignment to do war sketches for Life Magazine.
“San Francisco Life” is the title of the frescoes covering three walls of the first floor of the Beach Chalet. The mural depicts four San Francisco tourist locales: the beach, Golden Gate Park, Fisherman’s Wharf, and the Marina. Recognizable figures of the time from the arts and politics are shown in the mural scenes, engaging in leisure activities. Since Labaudt painted the mural in 1936-37, during the Great Depression, such leisure would have actually been out of reach for most people. Showing high-profile figures, including WPA administrators, enjoying their leisure time, was most probably a political comment on the inequalities of the times.
Ian Ross paints energy. In front of an audience on stage, in his lush backyard studio, or in the warehouse at Facebook HQ, his work is alive. Ross works “without the burden of intention” and reacts to each moment with bold graffiti inspired forms and colors. Ross has developed his unique style for 20 years and takes great pride in his spontaneous method. His street art style has become widely accepted and revered in a fine art realm. He has become known as the “Tech/Start-up Artist” painting live murals in high tech offices for Companies like Facebook, Google, Vendini, Alphaboost, AdRoll and Zimride.
Jeremy Nova – Great Spirits Have Always Encountered Violent Opposition From Mediocre Minds – Einstein
Jeremy Nova is best known for his stenciled koi fish on the sidewalks, often on top of graffiti tags, to “beautify the area.” There are now more than 2,000 of his koi throughout the city, including commissioned ones at the Yerba Buena Center for the Arts, Quan Yin Meditation Center, Cafe Flore and the hair salon Every Six Weeks.
Zio Ziegler is a Mill Valley, California native and a graduate of both Brown University and Rhode Island School of Design. He has a clothing line Arte Sempre.
This glazed ceramic tile mural is of male figures engaged in athletic activities. This tile mural sits between two painted murals names Blues Evolution I and Blues Evolution II
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This tile mural has been on the walls of the rec center since it opened.
Mary Erkenbrack was born in Seattle, Washington on Nov. 30, 1910, Erckenbrack was raised in Rio De Janeiro, London, and Paris as her father, a shipping commissioner, moved about. While in France she studied art in Le Havre at Pension Jeanne d’Arc.
During 1933-35 her married name was Hennessy. In 1935 she settled in San Francisco and became active in the North Beach art scene. She soon established Mary E’s Mud Shop and was kept busy fulfilling ceramic orders for Gump’s, Marshall Fields and others.
