Copy art had roots in the Fillmore

“Big Bucks,” a color Xerox work by Barbara Wyeth

By BARBARA WYETH

There was a brief time on the San Francisco art scene when artwork done on color Xerox copy machines was hot — the latest thing, de rigueur for experimental and accomplished artists, and for novices as well. The Fillmore was right at the center of all the excitement.

The neighborhood had a long tradition of welcoming musicians and artists. That had begun to change with redevelopment, the Geary expressway and gentrification, as Fillmore Street became an upscale shopping district for residents of Pacific Heights. Painterland, a loose collection of artists who gathered in and around 2322 Fillmore in the 1950s, was essentially over when Jay DeFeo and her behemoth painting The Rose moved out of the building in 1965.

In the mid-70s, however, some remnants of that bohemian spirit remained. The street was still eclectic and diverse, with small service businesses, one-of-a-kind boutiques, art galleries and framers, Japanese sushi shops and bars with live music. It was in this milieu that Barbara Cushman, a native New Yorker, opened A Fine Hand at 2404 California Street, now home to Smitten Ice Cream. Initially, her shop offered fine writing implements and supplies for lefties — the proprietor being one — as well as handcrafted goods and fine art. Cushman had worked in ceramics and collage art and had an avid interest in all forms of artistic expression.

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A lodge with a view

Photograph of the Lodge at the Presidio by Kentyn Reynolds

LANDMARKS | BRIDGET MALEY

Just before the Fourth of July, the lucky first guests checked in to the Lodge at the Presidio, a new addition to the collection of overnight accommodations available in San Francisco’s Presidio. The stunning renovation of a former army barracks provides a unique urban park experience with world class views of the Golden Gate Bridge.

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A knack for the timpani

Photograph of San Francisco Symphony timpanist Ed Stephan by Kristen Loken

CULTURE BEAT | PAMELA FEINSILBER

Being the San Francisco Symphony’s principal timpanist is just one of the things keeping Ed Stephan busy these days. He’s also head of the percussion department at Duquesne University in Pittsburgh; on the faculty at the San Francisco Conservatory of Music and at Northwestern University in Chicago; and timpanist of the Grand Teton Music Festival in Jackson Hole, Wyoming, where he’s spent much of the summer.

The Pacific Heights house he calls home is being sold, so he’s been looking for another place in the neighborhood.

And the symphony’s new season begins this month. Stephan is particularly looking forward to the Stravinsky Festival. The orchestra, conducted by Michael Tilson Thomas, will perform the composer’s Persephone and The Firebird from September 21 to 23; and his Violin Concerto, Petrushka and Le Sacre du Printemps (The Rite of Spring) from September 27 to 30.

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City sues Fillmore Heritage Center developer

The Fillmore Heritage Center’s public spaces are empty, and no change is in sight.

CITY ATTORNEY Dennis Herrera filed suit this morning against developer Michael E. Johnson — who built the Fillmore Heritage Center  — for more than $6.5 million the city claims Johnson owes for a loan that helped build the complex.

“The years of excuses are over. Time’s up,” Herrera said in a statement announcing the lawsuit. “San Francisco taxpayers need to be made whole.”

For a few lively years beginning in 2007, the 50,000-square-foot space at Fillmore and Eddy housed Yoshi’s jazz club and restaurant and the 1300 on Fillmore lounge and restaurant, plus a gallery, screening room and garage. Yoshi’s closed in 2014 and briefly became The Addition, which Johnson ran himself before it too closed. 1300 on Fillmore closed in 2017 and now operates at the airport. The city took over the complex in 2017 when Johnson defaulted on the loan and has not yet figured out what to do with the empty commercial spaces.

“The city made this loan in good faith and has given Mr. Johnson every chance to pay back San Francisco taxpayers,” Herrera said. “San Francisco has worked with Mr. Johnson at every turn. Mr. Johnson has never held up his end of the bargain.

At a public meeting in May 2016, Johnson told the audience he had, in effect, had the project thrust upon him. He noted that he was primarily a housing developer when he was asked to become involved by local residents who wanted an African-American in charge.

He said it was a mistake for him to get involved in entertainment and restaurants. “It was a bad decision to go down that road,” he said.

After Yoshi’s on Fillmore declared bankruptcy, Johnson decided to run the club and restaurant himself. “I made another mistake,” he said. “We decided we’re going to try to resurrect it and create The Addition.”

He added: “We found out that operating that 28,000-square-foot facility was very difficult. We went six months. We couldn’t make it work. We had to close.”

The case is: City and County of San Francisco v. Michael E. Johnson et al., San Francisco Superior Court case no. CGC-18-568954, filed August 16, 2018.

Previewing “A Dance With Death”

Kelly Johnson and his daughter Leda Meredith in the final minutes of his life on May 7, 2018.

KQED TODAY OFFERS a preview of the New Fillmore documentary A Dance With Death, screening Wednesday night, August 15, at 7 p.m. at the Clay Theatre on Fillmore Street. It tells the story of longtime Fillmore resident Kelly Johnson’s decision — after a celebrated career as a dancer, musician and vaudeville performer — to end his life earlier this year.

PREVIEW ON KQED

A lesson in how to die
A podcast conversation with director Arash Malekzadeh

EARLIER: “The final days of Kelly Johnson

A Fillmore film premieres at the Clay

 

Set at sea, but born on Fillmore

BOOKS | ANNE GROSS

When I graduated from high school, my mother gave me a mermaid pendant on a silver chain, told me I’d always be a fish out of water, and sent me out into the world. I’d never been much of a swimmer, but somehow that made the totem even more apt.

Anne Gross

Continuing in that same stream, six years ago my husband and I decided to leave our large home in a remote Colorado mountain town and move into a miniscule apartment in a massive building in the Fillmore neighborhood. The move, although exciting for my husband, who was joining a flood of engineers entering the city, left me gasping for breath. I’d decided to leave my nursing career and start writing, but hadn’t anticipated how isolated that choice would leave me in a new city. For months, fear and insecurity circled like sharks, and were my only companions.

The new apartment quickly became oppressive as I pounded on my keyboard, so I took to pounding the sidewalk on and around Fillmore Street. I explored narrow Orben, Perine and Wilmot alleys with plot twists and quirky characters whirling in my brain. I became that annoying person in the back pew of St. Dom’s who came in from the fog just to eat candy bought at Mollie Stone’s. I watched the dogs wrestle in Alta Plaza, tongues lolling happily, while distant sailboats on the bay drifted between the mansions. My hope was to find the best library chair, the perfect cafe, the softest tuft of grass in the park where I could comfortably write. Instead I became Elkin’s flaneuse, aimlessly wandering.

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How a coffee shop saved my life

James DeKoven at Peet’s on Fillmore in 2007.

FIRST PERSON | JAMES DeKOVEN

On February 4, 2000, I arrived in the Fillmore under dire circumstances. Six months earlier, my fiancee had given the ring back — a devastating blow that occurred weeks after I gave up a well-paying job to write fulltime. Broken-hearted, half-mad and facing an uncertain financial picture, I fled from Santa Barbara to San Francisco.

At the time, it was more of an escape than any sort of plan for the future. For better or worse, I’ve never had many long-term goals. I just needed to get my head together. Once healthy, I could have clarity about the next step. But as I found out, sometimes destiny provides the relief. Who needs a personal coach, Jungian therapy, psychedelic journey, or self-help book when there’s Peet’s Coffee at Sacramento and Fillmore?

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My electric journey

By KATHY JOSEPH BALISTRERI

It all started during lunch at La Mediterranee last year. I had written the rough draft of a novel about the crazy, particular, sometimes heroic and sometimes downright despicable people who discovered electricity, but I was stumped on what to do next. Should I try to get a publisher? Start a blog? Hire an editor?

Luckily, I was having lunch with my friend Kim Nalley. Kim has been the headliner at the Fillmore Jazz Festival almost every year for the last 15 years, so she knows about entertaining. I was lucky enough to meet her through parenting. Our older kids went to the Sherith Israel’s preschool on California Street, and now our younger kids go there together.

Kim immediately knew what to do: “Kathy, you like to talk. Start a vlog, a video series.”

That started a quest to transform my ideas onto the screen, albeit a small one. Luckily, my book is composed of a series of vignettes about one remarkable person or idea, each leading to the next. So I learned how to edit video and started recording in my house on Washington Street. Kim helped me out by recording an original version of “Electricity” from a “Schoolhouse Rock” video for my theme song.

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A test of faith

Rev. Debra Low-Skinner is vicar of Christ Church Sei Ko Kai on Alta Plaza Park.

By FRAN MORELAND JOHNS

“Our congregation reflects San Francisco,” says Senior Warden Gordon Park-Li of historic Christ Episcopal Church Sei Ko Kai, which graces the corner of Pierce and Clay Streets across from Alta Plaza Park’s grand staircase.

On any given Sunday, its small, warm sanctuary welcomes Japanese Americans, Chinese Americans and Americans of assorted other heritages. In a neighborhood where houses sell in the multiple millions, the stately Victorian home of Christ Church offers a unique link to the good and the bad of San Francisco’s past, as well as its constantly changing future.

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