Come to Your Census: Who Counts in America?, hosted by the Yerba Buena Center for the Arts (YBCA), is a digital art and civic experience designed to allow the Bay Area community to engage with artists in addressing the long-term impact of the 2020 Census.
Every ten years, the Census count determines the population in all fifty states, the District of Columbia, and the five US territories. The results determine political representation as well as federal funding allocations for essential programs such as affordable housing, public transportation, healthcare, emergency services, arts and education financing, and so much more.
In San Francisco alone, each person who completes the Census directs $20,000 to community programs, potentially putting more than $17 billion into the city over the next ten years.
Come to Your Census: Who Counts in America? is part of an arts-driven citywide campaign led by the Art+Action coalition — headquartered and incubated at YBCA and commissioned by the City of San Francisco’s Office of Civic Engagement and Immigrant Affairs (OCEIA) — mobilizing around the 2020 Census.
Participating artists and organizations include Mark Baugh-Sasaki, Micah Bazant, Lukaza Branfman-Verissimo, Lukas Brekke-Miesner, Cece Carpio, Yueqi Chen, Creativity Explored, Rodney Ewing, First Exposures, Ana Teresa Fernández, Guillermo Galindo, June Grant, Chris Hamamoto, James Hosking, Vida Kuang, Liz Lerman, Bijun Liang, Richard Misrach, Takeshi Moro, Leah Nichols, Joan Osato, Maria Paz, Yesica Prado, Jerome Reyes, Dorothy R. Santos, SF Urban Film Fest, Lava Thomas, Sanctuary City Project, and Arleene Correa Valencia.
For further details and digital programming, visit ybca.org.
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
Suzanne Jackson’s paintings come to life, and find their way home, at the Arts Club of Chicago.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
The exhibition sold the highest number of tickets in its 127-year history.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.
Many in the local Ukrainian community want the museum’s name to be changed to reflect the many artworks in its collection by artists from former Soviet states.
This week, arts orgs and the war for talent, importance of house museums, the 125 most borrowed books in Brooklyn, the history of listicles, and more.
Lisa Ericson renders her real-world subjects beautifully, but the situations in which we find them are uncanny, menacing, and unexpected.