Mural Restorations
photo by Kerim Harmanci
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BART Mural Restoration ©1975 Michael Rios
Location: 24th Street and Mission
Project coordinated by Precita Eyes Muralists
Financed by TODCO Group
Brought to life by original artist Michael Rios
Assisted by Carlos "Kookie" Gonzales, Suaro Cervantes and Lucia Gonzalez Ippolito
more
Location: 24th Street and Mission
Project coordinated by Precita Eyes Muralists
Financed by TODCO Group
Brought to life by original artist Michael Rios
Assisted by Carlos "Kookie" Gonzales, Suaro Cervantes and Lucia Gonzalez Ippolito
more
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Hope for the World Cure
©1998 Precita Eyes Muralists
Restoration ©2022 by: Original artists Susan Cervantes, Elba Rivera & Ellen Silva
Assisted by: Aureliano Rivera, Ernesto Paul, Jared K. Mar, Kerra Hendrickson
Special Thanks to: All the Community Participants and donors and Supervisor Rafael Mandelman, and Marta Ayala
©1998 Precita Eyes Muralists
Restoration ©2022 by: Original artists Susan Cervantes, Elba Rivera & Ellen Silva
Assisted by: Aureliano Rivera, Ernesto Paul, Jared K. Mar, Kerra Hendrickson
Special Thanks to: All the Community Participants and donors and Supervisor Rafael Mandelman, and Marta Ayala
Description
The mural can be read from right to left beginning with an elaborate explosion of colors. This torrent of color represents the chaos created by the disease and yet the beauty in the artist’s life and the beauty she contributes to it. “I feel the importance of doing what’s significant to me,” she states, “thereby adding great beauty to life itself. I love life and the colors add to it” (Hazel Betsey).
To the right is a single palm tree. With a price tag of $13.5 million for the F- Street Market renovation from Valencia to Castro, the single tree representing the whole project. In the face of the dire need for more money to fund AIDS research and support for patients, this image serves to question the City’s priorities (Andy Arzate).
To the left of these images is a large representation of the AIDS virus itself (Clif Cox) above a figure holding the world urging us to “Be there for the World Cure” (Andy Arzate). Teardrops fall from the sky indicating the many tears that have been shed (José Escalante). The teardrops become larger and filled with medication until they ultimately splash into the cocktail glass of a bed-ridden patient below receiving an IV, in a potent symbol of the cocktail of medications taken daily by those infected (Jose Escalante and Clif Cox). Abstract representations of fluids weave in and out of the designs (John Micheal Stevinson). A moon and a star shine from above. (Mark Arseneau).
The tears at the top begin to diminish in size over a representation of the AIDS Quilt, in memory of the many who have lost their lives to this disease. The first square of the quilt, Marvin Feldman’s, is shown (Daniel Woods). Next to it is a memorial scene of one of the artist’ lover who died of AIDS, with a poem by the lover (Juan Carlos Oregon). The mural focuses here on memorial and recognition of the individual life. The community is healed when their voices are heard through ritualized celebrations of the lives of their loved ones and through the public mourning of their deaths. The next image, the tricycle with the milk carton, represents the healing that community awareness brings by evoking the Great Memorial Day Tricycle Race spearheaded by Charlotte Coleman owner of one of the first lesbian bars in the world” The Front” 1959 and “the Mint” 1969 until 1975, and a memorial to Harvey Milk who was surely one of the spectators (Andy Arzate).
A Figure who represents the frequent use of holistic methods of healing hovers above; the brilliant colors of the 7 chakras flow into the colors which constitute the rainbow flag (Daniel Woods). Just below and to the left, the “Alma Rota” Broken Spirit, a figure originally a sculpture by Manuel Martin, serves as a memorial to young people who have died of AIDS (Ruth Altman). The mural moves from dark to light from the depression of disease to the hope of life. Hope, in the figure of the volunteer representing all the volunteers that have stepped forward on their own, giving their love freely to those in need. The image serves as a special thank you to all the volunteers (Mark Arseneau). The flowers, cala lilies, catch the beauty of life and the peacefulness of death. The theme of healing is made explicit in the natural images of animals with people and trees together with the artists words inscribed in the tree’s branches. “Medicine heals my body, animals heal my heart and soul. Here the connection to the earth and our animal natures is a source of joy and rejuvenation (Pali Boucher).” Above the tree the AIDS candle is painted on a vent emerging from the building (Mark Arseneau). On one side of the vent “Castro” is painted in one direction of the on- coming traffic, resembling the marquis of the Castro Theatre (John Michael Stevenson). Behind the candle is another memorial quilt over which the pink triangle of Gay Pride is superimposed, and image of a rainbow butterfly-representing rebirth Susan Kelk Cervantes) Following these images, two dancing figures, female and male, transparently blend together “as one” reminding us that we are all both (Richard Purcell). The rainbow flag is muted as it hangs over the active- AIDS end of the wall, but it turns into a vibrant banner of color as it waves over the new life that springs up on this left side of the wall. The dancers and the flag carrier both remind us that the muted and the vibrant are part of the journey of Life (Richard Purcell and Robert Raeburn).
A tribute to Dykes on Bikes roars below and to the left of the dancing figures. The artist explains her contribution in the following passage. “Being a member of the women’s motorcycle contingent, my name was pulled out of a hat of one hundred to be the pace rider in 1992! It was a thrill of a lifetime and I was so full of Gay Pride to lead dykes on bikes at the Gay Pride 92 Parade. People cheered as we rode down the road, it was as if everyone was cheering for me. I was so proud and full of pride about who I am—a lesbian with HIV and my negative lover on the back of my bike waving the leather flag” (Dorothy Bartolomucci). The restored mural changed the lead biker to a memorial portrait of Soni Wolf, Founder of Dykes on Bikes who passed away in 2021.
The final images are “Lollipop love trees, fields of love and mountains to climb.” They are images, which validate the struggle, the recognition of the growth of love and hope and flight (Karen Tripp). The end figure is a genderless being with an enlarged heart for a head that is “seeing” love, receiving a seed of compassion in its right hand and offering a star of hope from the left hand while the heart blossoms into a gigantic and radiant flower that flames with passion while sprouting antennae of both male and female symbols of light (Tippett).
The realization for this mural is a “dream from the heart come true”. The artist, Clif Cox, states, “From the beginning of my HIV diagnosis to full blown AIDS, I have had a dream from my heart. The dream is like a full-length movie that you can enjoy fully, but feels sad when it ends. Hopefully, when I die or am cured of the AIDS virus, people will see some of the scenes from my AIDS existence in this history of the recorded. A mural can translate, in non- threatening ways, the reality of existence and our hopes. Art is healing, but also a spiritual experience. Please enjoy viewing this mural; you may see your dreams in Technicolor and enjoy your full hearts of concern and kindness.”
On the top left hand corner the word PRIDE was added during the 2022 mural restoration. This space used to be space for the old Bagdad Café signage. The PRIDE was designed by one of the original mural artists Ellen Silva and painted by Ernesto Paul.
To the right is a single palm tree. With a price tag of $13.5 million for the F- Street Market renovation from Valencia to Castro, the single tree representing the whole project. In the face of the dire need for more money to fund AIDS research and support for patients, this image serves to question the City’s priorities (Andy Arzate).
To the left of these images is a large representation of the AIDS virus itself (Clif Cox) above a figure holding the world urging us to “Be there for the World Cure” (Andy Arzate). Teardrops fall from the sky indicating the many tears that have been shed (José Escalante). The teardrops become larger and filled with medication until they ultimately splash into the cocktail glass of a bed-ridden patient below receiving an IV, in a potent symbol of the cocktail of medications taken daily by those infected (Jose Escalante and Clif Cox). Abstract representations of fluids weave in and out of the designs (John Micheal Stevinson). A moon and a star shine from above. (Mark Arseneau).
The tears at the top begin to diminish in size over a representation of the AIDS Quilt, in memory of the many who have lost their lives to this disease. The first square of the quilt, Marvin Feldman’s, is shown (Daniel Woods). Next to it is a memorial scene of one of the artist’ lover who died of AIDS, with a poem by the lover (Juan Carlos Oregon). The mural focuses here on memorial and recognition of the individual life. The community is healed when their voices are heard through ritualized celebrations of the lives of their loved ones and through the public mourning of their deaths. The next image, the tricycle with the milk carton, represents the healing that community awareness brings by evoking the Great Memorial Day Tricycle Race spearheaded by Charlotte Coleman owner of one of the first lesbian bars in the world” The Front” 1959 and “the Mint” 1969 until 1975, and a memorial to Harvey Milk who was surely one of the spectators (Andy Arzate).
A Figure who represents the frequent use of holistic methods of healing hovers above; the brilliant colors of the 7 chakras flow into the colors which constitute the rainbow flag (Daniel Woods). Just below and to the left, the “Alma Rota” Broken Spirit, a figure originally a sculpture by Manuel Martin, serves as a memorial to young people who have died of AIDS (Ruth Altman). The mural moves from dark to light from the depression of disease to the hope of life. Hope, in the figure of the volunteer representing all the volunteers that have stepped forward on their own, giving their love freely to those in need. The image serves as a special thank you to all the volunteers (Mark Arseneau). The flowers, cala lilies, catch the beauty of life and the peacefulness of death. The theme of healing is made explicit in the natural images of animals with people and trees together with the artists words inscribed in the tree’s branches. “Medicine heals my body, animals heal my heart and soul. Here the connection to the earth and our animal natures is a source of joy and rejuvenation (Pali Boucher).” Above the tree the AIDS candle is painted on a vent emerging from the building (Mark Arseneau). On one side of the vent “Castro” is painted in one direction of the on- coming traffic, resembling the marquis of the Castro Theatre (John Michael Stevenson). Behind the candle is another memorial quilt over which the pink triangle of Gay Pride is superimposed, and image of a rainbow butterfly-representing rebirth Susan Kelk Cervantes) Following these images, two dancing figures, female and male, transparently blend together “as one” reminding us that we are all both (Richard Purcell). The rainbow flag is muted as it hangs over the active- AIDS end of the wall, but it turns into a vibrant banner of color as it waves over the new life that springs up on this left side of the wall. The dancers and the flag carrier both remind us that the muted and the vibrant are part of the journey of Life (Richard Purcell and Robert Raeburn).
A tribute to Dykes on Bikes roars below and to the left of the dancing figures. The artist explains her contribution in the following passage. “Being a member of the women’s motorcycle contingent, my name was pulled out of a hat of one hundred to be the pace rider in 1992! It was a thrill of a lifetime and I was so full of Gay Pride to lead dykes on bikes at the Gay Pride 92 Parade. People cheered as we rode down the road, it was as if everyone was cheering for me. I was so proud and full of pride about who I am—a lesbian with HIV and my negative lover on the back of my bike waving the leather flag” (Dorothy Bartolomucci). The restored mural changed the lead biker to a memorial portrait of Soni Wolf, Founder of Dykes on Bikes who passed away in 2021.
The final images are “Lollipop love trees, fields of love and mountains to climb.” They are images, which validate the struggle, the recognition of the growth of love and hope and flight (Karen Tripp). The end figure is a genderless being with an enlarged heart for a head that is “seeing” love, receiving a seed of compassion in its right hand and offering a star of hope from the left hand while the heart blossoms into a gigantic and radiant flower that flames with passion while sprouting antennae of both male and female symbols of light (Tippett).
The realization for this mural is a “dream from the heart come true”. The artist, Clif Cox, states, “From the beginning of my HIV diagnosis to full blown AIDS, I have had a dream from my heart. The dream is like a full-length movie that you can enjoy fully, but feels sad when it ends. Hopefully, when I die or am cured of the AIDS virus, people will see some of the scenes from my AIDS existence in this history of the recorded. A mural can translate, in non- threatening ways, the reality of existence and our hopes. Art is healing, but also a spiritual experience. Please enjoy viewing this mural; you may see your dreams in Technicolor and enjoy your full hearts of concern and kindness.”
On the top left hand corner the word PRIDE was added during the 2022 mural restoration. This space used to be space for the old Bagdad Café signage. The PRIDE was designed by one of the original mural artists Ellen Silva and painted by Ernesto Paul.
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Five Sacred Colors of Corn
©2021 Precita Eyes
©2021 Precita Eyes
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"The Primal Sea'', ©1980, addition
©2020 Precita Eyes Muralists Location: Garfield Pool at Harrison and 26th Street Photo by: Yano Rivera Description
As part of the long-awaited remodel of the Garfield pool clubhouse, the Primal Sea diptych at Harrison and 25th St. has been restored and extended. The mural dates from 1980 and was among the first Precita Eyes' projects to receive SF Recreation and Parks and National Endowment for the Arts funding. See original project. Precita Eyes founder Susan Cervantes led the community team that created the original murals 40 years ago and is again leading the team working on the new mural. Yano Rivera leads the restoration team. |
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Tuzuri Watu Restoration
©2019 Precita Eyes Muralists
Located: 3rd and Palou
Created by: Brooke Fancher (1984)
©2019 Precita Eyes Muralists
Located: 3rd and Palou
Created by: Brooke Fancher (1984)
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Mini Park Restoration
©2017 Precita Eyes Muralists
©2017 Precita Eyes Muralists
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"Flags of the Americas" Mural Restoration
© 2016 Precita Eyes Muralists
Artist: Yano Rivera
Contributing Artists: Naoki Onodera
Location: 24th Street Corridor: On the light poles from Mission Street to Potrero Street.
© 2016 Precita Eyes Muralists
Artist: Yano Rivera
Contributing Artists: Naoki Onodera
Location: 24th Street Corridor: On the light poles from Mission Street to Potrero Street.
Description
Funded by a Special Project Grant from the Mayor's Office the original Flags of the Americas mural banners have been preserved and restored while reproducing the aesthetics of the originals using the evidence available. The Flags were originally painted in the 1980s and represent the different countries of the western hemisphere. An acryloid coating with UV protection ensures longevity of colors and graffiti protection for long term care. Flags are expected to go back up early 2017.
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"”Mission Health Center Mural" Restoration
©2016 Precita Eyes Muralists
Artist: Michael Rios, the founder of Creative Vision Arts, in collaboration with Susan Cervantes
Location: 240 Shotwell Street, San Francisco
©2016 Precita Eyes Muralists
Artist: Michael Rios, the founder of Creative Vision Arts, in collaboration with Susan Cervantes
Location: 240 Shotwell Street, San Francisco
Description:
Long Time Mural Artists, Michael Rios and Precita Eyes, Restore two Murals in the Mission District. San Francisco, CA (February 29th, 2016)— If you pass by 240 Shotwell Street you will see a long overdue change to the block. Michael Rios, the founder of Creative Vision Arts, along with Susan Cervantes, the Executive Director of Precita Eyes, collaborated at the end of 2015 to restore two of the murals outside of the Mission Neighborhood Health Center building.
The murals were first created by Michael Rios and Graciela Carillo in the 1970’s. Mission Neighborhood contacted Michael Rios and he was more than glad to take part in bringing back the vibrant colors his mural once had. Michael Rios was “excited to work alongside Susan Cervantes to restore what were once vibrant murals”. “It feels like the old times when there were so many artists and we collaborated to make the murals that are part of the Mission District’s legacy”.
Graciela Carillo, the artist of the second mural, could not be found, Susan Cervantes was more than willing to honor her friend’s creation. “We worked closely in the 1960’s and 70’s. I am happy to restore her mural and honor the concept she had when she created the mural” said Susan.
Brenda Storey, the Executive Director of MNHC said “We tried restoring he murals for a while but failed to receive any funding, we are elated to have murals restored back to their original charm”
If you would like to see the restored murals come by 240 Shotwell Street, San Francisco CA, 94110.
About Mission Neighborhood Health Center Since 1967, Mission Neighborhood Health Center has provided culturally competent, comprehensive quality care to the underserved Latino immigrant communities in the eastern part of San Francisco (e.g. Mission, Bayview, Tenderloin and Excelsior area) and northern San Mateo County. In 2015 MNHC provided primary care to over 12,000 children, adolescents, families, and adults in the community.
The murals were first created by Michael Rios and Graciela Carillo in the 1970’s. Mission Neighborhood contacted Michael Rios and he was more than glad to take part in bringing back the vibrant colors his mural once had. Michael Rios was “excited to work alongside Susan Cervantes to restore what were once vibrant murals”. “It feels like the old times when there were so many artists and we collaborated to make the murals that are part of the Mission District’s legacy”.
Graciela Carillo, the artist of the second mural, could not be found, Susan Cervantes was more than willing to honor her friend’s creation. “We worked closely in the 1960’s and 70’s. I am happy to restore her mural and honor the concept she had when she created the mural” said Susan.
Brenda Storey, the Executive Director of MNHC said “We tried restoring he murals for a while but failed to receive any funding, we are elated to have murals restored back to their original charm”
If you would like to see the restored murals come by 240 Shotwell Street, San Francisco CA, 94110.
About Mission Neighborhood Health Center Since 1967, Mission Neighborhood Health Center has provided culturally competent, comprehensive quality care to the underserved Latino immigrant communities in the eastern part of San Francisco (e.g. Mission, Bayview, Tenderloin and Excelsior area) and northern San Mateo County. In 2015 MNHC provided primary care to over 12,000 children, adolescents, families, and adults in the community.
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Ingleside Presbyterian Church
©2015 Precita Eyes Muralists
©2015 Precita Eyes Muralists
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"500 Years of Resistance Mural Restoration"
©2012 Precita Eyes Muralists
24’ x 90’,
Artist: Isaias Mata
Location: 24th and Florida Streets SF, Mission
©2012 Precita Eyes Muralists
24’ x 90’,
Artist: Isaias Mata
Location: 24th and Florida Streets SF, Mission
Description:
The repair, restoration and maintenance of the mural, “500 Years of Resistance”, is be led by the original internationally acclaimed Salvadoran artist Isaias Mata in collaboration with Precita Eyes and mural restorer Aureliano “Yano” Rivera. The 21 year old, 40x8 meter mural – the brainchild of the late Father Jack Isaacs -- is painted on the rectory of St. Peter’s Parish Rectory at the corner of 24th St. and Florida St. in San Francisco, California, and is an integral part of the “cultural corridor” that celebrates and preserves Latin culture, art and history. It is one of the most beloved and visited murals in San Francisco.
In 1992, the late Father Jack Isaacs conceived and commissioned the mural, “500 Years of Resistance” in collaboration with resident artist, Isaias Mata. At that time, Father Isaacs was pastor of St. Peters’ parish, one of the largest Spanish-speaking immigrant parishes in San Francisco, located in the heart of the Latin Mission district. Father Isaacs believed deeply in the power art and beauty to heal and to inspire. He especially sought to create a public reference point for young immigrant youth caught in cycles of poverty, anti-immigrant sentiment, and rising gang violence and for the broader community.
Father Isaacs and Isaias Mata aimed to depict the Conquest from the perspective of the indigenous and victims of empire, then and now. At the same time, the priest and the muralist sought to celebrate and honor the faith and resilience of the people and their descendents in the face of overwhelming violence. They viewed the mural as a powerful counterpoint to the negative cultural narratives dominating popular culture and as an offering that could spark the imagination and provide alternative reference points of identity and possibility, especially for youth.
In 1992, the late Father Jack Isaacs conceived and commissioned the mural, “500 Years of Resistance” in collaboration with resident artist, Isaias Mata. At that time, Father Isaacs was pastor of St. Peters’ parish, one of the largest Spanish-speaking immigrant parishes in San Francisco, located in the heart of the Latin Mission district. Father Isaacs believed deeply in the power art and beauty to heal and to inspire. He especially sought to create a public reference point for young immigrant youth caught in cycles of poverty, anti-immigrant sentiment, and rising gang violence and for the broader community.
Father Isaacs and Isaias Mata aimed to depict the Conquest from the perspective of the indigenous and victims of empire, then and now. At the same time, the priest and the muralist sought to celebrate and honor the faith and resilience of the people and their descendents in the face of overwhelming violence. They viewed the mural as a powerful counterpoint to the negative cultural narratives dominating popular culture and as an offering that could spark the imagination and provide alternative reference points of identity and possibility, especially for youth.
"Si Se Puede Mural Restoration"
2014 Precita Eyes Muralists
32’ x 150’
Artist: Directed and designed by Susan Cervantes in collaboration with Juana Alicia, Elba Rivera, Margo Bors and Gabriela Lujan.
Location: Cesar Chavez Elementary School, 825 Shotwell, SF CA
2014 Precita Eyes Muralists
32’ x 150’
Artist: Directed and designed by Susan Cervantes in collaboration with Juana Alicia, Elba Rivera, Margo Bors and Gabriela Lujan.
Location: Cesar Chavez Elementary School, 825 Shotwell, SF CA
Description:
Cesar Chavez Restoration Narrative: “Si Se Puede” is a monumental iconic mural on Cesar Chavez Elementary School in the Mission District painted in 1995. The mural suffered water damage on the upper strip where damaged plaster was removed and re-stuccoed. In 2014 Precita Eyes restored the mural with funding from the San Francisco School District and the Capitol Improvement Fund. This mural pays homage to the vision of the founder of the United Farm workers Union. As a labor leader, civil rights champion and educator in his own right, Cesar Chavez is a compelling role model for the children of all ethnic origins who are being taught to live so harmoniously in a school such as this one. His portrait is surrounded by roses, grapes, and other crops native to this continent. A brilliant sun radiates from behind his head in front of the giant geometric wings of the farm worker eagle, spanning much of the horizontal length of the mural. The bright rays of the sun symbolizing his enduring spirit intersect with the black wings creating patterns of light across its surface and spreading out over other parts if the mural. Framing the late great leader is an arched trellis with entwined grapevines and climbing roses. Chavez is holding the hand of the child, one of many that are marching forward toward their future. In the left corner is an elder farm worker picking grapes. The grape arbors weave between the school’s windows, representing the life, work, and struggle of the people who have created the agricultural richness of California. The red grapes symbolizing the blood of the workers and that water their tears. In the far right corner is a cornfield with a young native girl coming from behind it. She is near Dolores Huerta another strong leader of the United Farm workers Union and one of the most outstanding woman political leaders of this state and country. In her hand, she holds a pair of wire cutters, which she had used to open a cyclone fence, allowing more children access to freedom and education. Assisting Dolores Huerta a huge realistic eagle spreads its wings. One of these children is hand signing the farm worker’s eagle. Huerta is handing a scroll to a student written with the popular phrase, “Si Se Puede”. The scroll winds between the children into the center of the mural, into the hand of Cesar Chavez, where it reads with a quote from him, which says, “Help me take responsibility for my own life so I can be free at last.
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"Vintage Historic Sign Restorations Mural"
©2010-2012 Precita Eyes Mural Center
Location: Tenderloin District, SF CA
©2010-2012 Precita Eyes Mural Center
Location: Tenderloin District, SF CA
Description:
Precita Eyes restored 7 historic mural advertisements in the Tenderloin. The vintage ads were cleaned, varnished, repainted and sealed with a protective coating. These advertisement murals were restored to preserve the unique and historic San Francisco icons as well as launch the Taylor Street Art District project. Funded: Tenderloin Neighborhood Housing Corporation, Community Challenge Grant, Uptown Tenderloin Museum
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"Cleveland Portraits"
©2011 Precita Eyes Muralists
©2011 Precita Eyes Muralists
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“Balmy Alley Restorations" Mural
Location: Balmy Alley, Mission District, SF CA
Location: Balmy Alley, Mission District, SF CA
Description:
Balmy Alley is located in the Calle 24 Latino Cultural Corridor in the Mission District in San Francisco, California. The block long alley is the best place to see the most concentrated collection of murals in San Francisco. The murals began in the mid-80's as an expression of artists' outrage over human rights and political abuses in Central America. Today the alley contains murals in a myriad of styles and subjects from human rights to local gentrification and Hurricane Katrina. Precita Eyes Muralists maintains and restores the murals in the Alley with help from volunteers and trained restoration staff.
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"The Gift You Take is Equal to the Gift You Make
Restoration Mural"
©2009 Precita Eyes Muralists, restored in 2014
12.8’ x 18’ x 68’, acrylic on stucco
Mural Director: Catalina Gonzalez- Hill & Cory Calandra Devereaux
Contributing Artists: Marta Ayala
Location: Exterior wall, 191 Golden Gate Avenue (at Leavenworth Street) San Francisco, CA 94102
Restoration Mural"
©2009 Precita Eyes Muralists, restored in 2014
12.8’ x 18’ x 68’, acrylic on stucco
Mural Director: Catalina Gonzalez- Hill & Cory Calandra Devereaux
Contributing Artists: Marta Ayala
Location: Exterior wall, 191 Golden Gate Avenue (at Leavenworth Street) San Francisco, CA 94102
Description:
Funded by the City And County of San Francisco Community Challenge Grant Program & San Francisco Clean City Coalition. “The Gift You Take is Equal to the Gift You Make” celebrates the gifts that the community brings and receives in the Tenderloin (TL) neighborhood including diversity, varied backgrounds, and rich cultural heritages and experiences. The “SS” New Tenderloin breaches the turbulent ocean and arrives from distant lands, bringing the various people who make the neighborhood their home. As the children leave the ship, they join others, and grab the rope (a common TL practice) to traverse the streets. They head for “ National Family Night Out” a scene of fun, art and entertainment for all. As they cross the space, they approach neighborhood landmarks such as the Hibernia Bank, and the Cadillac Hotel with its portrait of community leaders, Kathy and Leroy Looper. At National Family Night Out in the TL, children’s art is everywhere, and its spirit carries over to the classroom. In the school room our heroes, the teachers encourage and guide children of all ethnicities. In the background, the roses signify the color and added life that will come by adding more gardens and greenery to the neighborhood. The Black Hawk Jazz Club is a tribute to the past and the musicians are a nod to the current efforts to revitalize the music and art in the neighborhood. The mural also honors the gifts that the community receives, and shows the residents, workers and activists breaking the chains of containment to demonstate for the needs of the neighborhood. In this Tenderloin, there are health services, affordable housing (such as Essex Hotel), work opportunities, a clean and safe environment, interactions among neighbors, services offered to all, and “Community not Containment”. All of these gifts become available as the sun shines in the TL.
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Indigenous Eyes
©1990 Precita Eyes Muralists
©1990 Precita Eyes Muralists