February 17 – August 13, 2023

June 24 – August 19, 2023

As a re-recorded version is slated for release, we revisit 1989

Why the late director's wild jungle thriller Sorcerer deserves more kudos

July 8 – August 13, 2023

June 24 – August 19, 2023

The Bronx party that launched an entire culture

Transatlantic LGBTQ+ romance Red, White & Royal Blue is a flop

May 20 – August 12, 2023

May 7 – August 13, 2023

How ridiculous Eurodance comedy tune Planet of the Bass has entranced the world

June 9 – August 12, 2023

June 2 – August 12, 2023

Why it's such a struggle to depict the 'real' Virginia Woolf

How these radical 1970s street poets were forgotten by history

June 3 – August 5, 2023

June 19 – September 15, 2023

Many opera companies are aiming for full sustainability – can it be done?

Almost six months after she passed away from cancer at age 75, the longtime Marin County residence of venerable art collector and philanthropist Chara Schreyer has popped up for sale, asking a brush stroke over $8.2 million. Resting in the desirable Belvedere enclave of Tiburon, just across the Golden Gate Bridge, the sleek architectural-style digs come complete with picturesque views overlooking the Tiburon Peninsula, San Francisco Bay, and Sausalito.

Originally acquired by Schreyer and her then-husband Gary Schreyer in the late 1970s—and subsequently customized to her tastes by interior designer Gary Hutton—the three-story structure is known as the “Art House,” and has six bedrooms and a matching number of baths in a little more than 8,100 square feet of gallery-like living space boasting high ceilings and a striking spiral staircase holding court in the slate-covered foyer. A freestanding art studio also is whimsically framed by a half-pair of gigantic red eyeglasses, with the other portion on exhibit at her home in Los Angeles.

Highlights include a soaring living room with French doors spilling out to the leafy grounds and an adjacent family room warmed by a fireplace. There’s also an office, a lofty game lounge, wood-clad library with built-in banquette seating and window-lined dining room that connects via a butler’s pantry to the gourmet kitchen, which is outfitted with granite countertops, a center island sporting dual sinks, top-tier Bosch, Dacor, Wolf and Sub-Zero appliances, and a cozy fireside breakfast nook.

An upstairs master retreat features a fireplace donning a marble surround, private balcony, walk-in closet and luxe bath spotlighted by a shower equipped with a large pivoting steel door, while a lower level leading to the attached three-car garage is decked out with a recreation/media room, gym, full bath with a steam shower and wine cellar. Outdoors, the sculpture-laced grounds span almost an acre, and host meandering pathways and an expansive terrace ideal for al fresco entertaining with a built-in barbecue setup, as well as a sunny site primed for a pool.

Revered as one of the world’s foremost collectors of modern and contemporary art created by the likes of Marcel Duchamp, Mark Bradford, Georgia O’Keeffe and Andy Warhol, Schreyer served on the boards of the San Francisco Museum of Modern Art, and Museum of Contemporary Art and Hammer Museum in L.A. The German-born daughter of Holocaust survivors, she also was an avid supporter of the Contemporary Jewish Museum, where she was instrumental in the Daniel Libeskind-designed expansion in 2008.

A poster by artist Demian DinéYazhi’ that reads “DEFUND THE POLICE DECOLONIZE THE STREETS” was chosen for a group show at Chehalem Cultural Center (CCC) in Newberg, Oregon, that is set to run through September 28. But on August 1, the opening day of the exhibition, the artwork was removed from view, a decision that DinéYazhi’ has called censorship in a scathing Instagram post. 

DinéYazhi’, a trans nonbinary Indigenous artist (Naasht’ézhí Tábąąhá and Tódích’íí’nii clans) who confronts oppressive institutional machinations in their multidisciplinary practice, said the work was removed without their knowledge and without the consent of the curatorial team, composed of Selena Jones, Owen Premore, and Tammy Jo.

“Each time a crucial conversation resurfaces without proper consultation, support, or reparations,” DinéYazhi’ wrote in their post. “It is unsurprising especially given the amount of resources that are extracted from artists & politically motivated communities by arts spaces in order to escape accountability & restructuring initiatives.” DinéYazhi’ said the decision to remove the work was made by Sean Andries, executive director of CCC.

“[Curator Tracy Schlapp] & myself collaborated on the design of the original letterpress poster, which it references, in the spring of 2020 as a result of the police murder of George Floyd & Black Lives Matter uprisings that followed & effectively empowered the Portland community,” they continued, adding that CCC has “chosen to stand on the side of conservative extremism & fear by censoring the work of an Indigenous Non-Binary Trans Artist.”

A CCC spokesperson did not respond to a request for comment by the time of publication.