CAPITALISM IS OVER! If You Want It featured in Huck Magazine August 15, 2015

Five Postcapitalist Projects That Offer a Blueprint for a New World
Postcapitalism: A Guide To Our Future

By Alex King

Stop The Corporatocracy – My new mural on Clarion Alley – completed August 3, 2015

Check out CAPITALISM IS OVER! If You Want It in the Febrero issue of Código Magazine HERE!

Photo by Peter Menchini

Photo by Peter Menchini

Protesters disrupt landlord from getting on Google bus

By Sara Bloomberg

48 Hills

DECEMBER 16, 2014 — Sometimes he drives to work, but this morning Jack Halprin decided to take a private shuttle to his office at Google.

Housing advocates were awaiting him.

Shortly before 7 am, around a dozen protesters blocked a tech shuttle from leaving its stop at 18th and Dolores streets when someone in the group started yelling, “He’s walking down Guerrero!”

Maybe Halprin thought he could sneak by the loud group—and their signs denouncing him—unnoticed. But no such luck.

Halprin, a lawyer for Google, is using the Ellis Act to evict the remaining tenants at 812 Guerrero St., a seven unit building tucked between the bustling Valencia commercial corridor and Dolores Park.

And the question on everyone’s minds since he served the eviction notice last February is: Why does he need a seven unit building all to himself?   Continue Reading HERE

Halprinprotest from Mission Local on Vimeo.

Wall of Shame & Solutions, Christopher Statton, Megan Wilson, Mike Reger, Clarion Alley Mural Project, 2014. Photo by Steve Rhodes.




Megan Wilson: 415-351-8193               
Christopher Statton:

High Resolution and Additional images available on request


Clarion Alley Mural Project Wall of Shame & Solutions
New Mural on Clarion Alley by Christopher Statton, Megan Wilson, and Mike Reger


Monday, February 24 – October 1, 2014


TBA – information to follow


Clarion Alley Mural Project
Clarion Alley @ Valencia Street (between 17th & 18th Streets), San Francisco, CA, USA.



Wall of Shame & Solutions, Christopher Statton, Megan Wilson, Mike Reger, Clarion Alley Mural Project, 2014. Photo by Steve Rhodes.


In a city that is rapidly changing to cater to the one-percent at every level, Clarion Alley Mural Project (CAMP) is one of the last remaining truly punk venues in San Francisco, organized by a core and revolving group of individuals who have collectively volunteered tens of thousands of hours throughout its history over the past 21 years.

As part of CAMP’s mission to be a force for those who are marginalized and a place where culture and dignity speak louder than the rules of private property or a lifestyle that puts profit before compassion, respect, and social/economic/environmental justice, CAMP artists/organizers Megan Wilson, Christopher Statton, and Mike Reger have just completed Clarion Alley Mural Project’s Wall of Shame and Solutions to address the current crisis of displacement and the dismantling of our city’s historic culture.

Wilson herself was evicted in 2008 through the Ellis Act from her home of 13 years. In 2013 she was evicted from her studio at 340 Bryant Street, along with 150 other artists, by developer Joy Ou of Group i to make way for new tech offices. 340 Bryant Street was one of the last remaining affordable industrial spaces for artists’ studios in San Francisco. Additionally, during the painting of the “Wall of Shame and Solutions” Wilson was held by a Mission District police officer (with a back-up team of two officers) for 30-minutes for “breaking San Francisco’s Sit/Lie Ordinance” by sitting on the ground while taking a break from painting the mural.

The mural includes the following selection of “Shames” and “Solutions” – there are many others that could’ve been included; however, due to space, we narrowed it down:

SHAME: 3,705 Ellis Evictions 1997 – 2013, SF Eviction Epidemic
Ellis Act Relocation Bill & Support the Anti-Speculation Tax and Support the SF Community Land Trust

SHAME: “Google Buses” / SFMTA
Ban Private Shuttles From Public Bus Stops and Pay Into The Existing Public Transit System

SHAME: Corporate Tax Give-Aways by: Mayor Ed Lee & Supervisors Jane Kim, Scott Weiner, Malia Cohen, Mark Farrell, Eric Mar, and David Chiu
End Corporate Welfare and Tax Them and Make Them Pay Their Fair Share

SHAME: Uber, Lyft, Sidecar etal.
Regulate & Tax

SHAME: Airbnb
Regulate & Tax

SHAME: Corporate Community Benefit Agreements
Just Say “NO” – Make Them Pay Their Fair Share

SHAME: Closure of Chess Game in Mid Market
Bring Back The Public Chess Games

SHAME: SF Sit/Lie Ordinance
Repeal Sit/Lie

SHAME: Closing SF Public Parks at Night
Re-open The Parks at Night

Wall of Shame & Solutions, Christopher Statton, Megan Wilson, Mike Reger, Clarion Alley Mural Project, 2014. Photo by Steve Rhodes.


San Francisco is experiencing a massive displacement of its residents, its communities, and its diverse culture – as the high tech industry and its workers continue to move into our City and to recruit more and more of its employees from outside of the Bay Area. Additionally, high numbers of foreigners are buying up property in San Francisco as second or third homes, contributing to the shortage of affordable housing. Those being forced out of their homes and neighborhoods include longtime residents (many who are low and middle income, immigrants, and communities of color), local businesses, and non-profit social service and arts organizations – agencies that act as integral parts to the neighborhoods they live in and serve. It’s been truly heartbreaking to watch so many people who have spent many years creating and contributing to our communities be forced to leave because, while they have plenty of creativity, energy, and love for their neighborhoods, they don’t have enough money to keep their homes, small businesses, and community-based organizations.

This is an epidemic rooted in a systemic war being forged by politicians and for-profit interests across the world. In San Francisco it’s a war being led by Mayor Ed Lee (led by Gavin Newsom before him, and Willie Brown before that), District Supervisors, and the Planning Commission, funded by deep pockets with the money to pull these City “leaders”’ strings. These are the folks who have created and are creating the changing image of San Francisco as “money is the priority,” not culture and/or a voice for the disenfranchised. All eyes throughout the world are now on San Francisco and watching as the city that was once known for its progressive free-love counterculture is rapidly being dismantled by free-market capitalism on steroids.

Ultimately the power of the people who don’t have deep pockets lies in calling these interests out, demanding better, and coming up with “creative solutions” to put an end to the powers that are cruelly targeting the most vulnerable populations locally, nationally, and globally.

Wall of Shame & Solutions, Christopher Statton, Megan Wilson, Mike Reger, Clarion Alley Mural Project, 2014. Photo by Steve Rhodes.


Clarion Alley Mural Project (CAMP) was established in October 1992 by a volunteer collective of six North Mission residents: Aaron Noble, Michael O’Connor, Sebastiana Pastor, Rigo 92, Mary Gail Snyder, and Aracely Soriano. Photographer Fiona O’Connor documented CAMP from the beginning. Other members of CAMP over the years include Diego Diaz, Kate Ellis, Permi Gill, Maya Hayuk, Megan Wilson, Andrew Schoultz, Ivy Jeanne McClelland, Jet Martinez, CUBA, Daniel Doherty, Antonio Roman-Alcala, Mike Reger, Christopher Statton, and Ronin Miyamoto-San.

Today CAMP’s core organizers include: Megan Wilson, Mike Reger, Christopher Statton, Ronin Miyamoto-San, Jean Yaste, Roisin Isner, Jose V. Guerra Awe, and Rigo 23.

CAMP was directly inspired by the mural cluster in Balmy Alley focused on Central American social struggles. CAMP did not choose a single theme however, instead focused on the two goals of social inclusiveness and aesthetic variety. As a result CAMP has produced over 700 murals on and around Clarion Alley by artists of all ethnicities, ages, and levels of experience, with an emphasis on emerging artists and new styles.

CAMP has contributed to the tradition of labor muralism with offsite projects at ILWU Local 6, at 9th and Clementina, and inside the Redstone Building at 16th and Capp (the latter, a cluster of its own, includes twelve murals). CAMP has also presented major gallery installations at the San Francisco Art Institute, New Langton Arts, and Intersection for the Arts. In 2003 CAMP completed an international exchange project, Sama-sama/Together with artists from Yogyakarta, Indonesia. As part of the project CAMP produced the 156-page book “Sama-Sama/Together: An International Exchange Project Between Yogyakarta & San Francisco,” published by Jam Karet Press.

CAMP and The Changes To The Mission Neighborhood:

Sadly CAMP has helped to contribute to the extreme gentrification of the Mission District over these past two decades. What started as neighborhood-based project committed to diversity and inclusion, is now a magnet for lots of folks hoping to profit off of the image that CAMP has created – from the developers and real estate agents who use CAMP as a selling point for the “cool, hip Mission experience,” to those who use the space for fashion shoots, to corporations hoping to include the “gritty urban street art” image to sell their products, to any number of paid tours by folks unrelated to CAMP, spreading misinformation about the project, artists, and murals.

CAMP itself was evicted from our warehouse at 47 Clarion in 2000 to make way for new condo lofts. In addition to its long history as a labor hall in the 1930’s, community center, and space for artists (including Terry Riley, John Waters, and the Cockettes), 47 Clarion was the original office and studio for the Clarion Alley Mural Project. Subsequently, CAMP was then evicted from its garage on the alley in 2005. Many of the artists who once lived in the neighborhood and worked with CAMP have also been displaced due to the outrageous and unaffordable hikes in rents to the area.


Megan Wilson has been an organizer with Clarion Alley Mural Project since 1998. In 2003 she curated, raised the funds, co-organized, and participated in CAMP’s international exchange project Sama-Sama/Together through which six artists from SF (Aaron Noble, Andrew Schoultz, Alicia McCarthy, Carolyn Castaño, Carolyn Ryder Cooley, and Megan Wilson) completed a 6-week residency in Yogykarta, Indonesia and 4 artists from Yogykarta (Arie Dyanto, Arya Panjalu, Nano Warsono, and Samuel Indratma) completed an 8-week residency in SF painting murals, installing exhibitions, and participating in public dialogues. In addition to her work as an artist, Wilson has  worked in non-profit development, planning and management for over 15 years. She has extensive experience in program development, community organizing, and social & economic justice activism.

For more information see:

Wall of Shame & Solutions artists Christopher Statton, and Megan Wilson, 2014. Photo by Steve Rhodes.

Christopher Statton has been an organizer with Clarion Alley Mural Project since 2012. Statton is the former Executive Director of San Francisco’s Roxie Theater (2010 – 2013). In 2013 he was awarded the Marlon Riggs Award by the San Francisco Film Critics Circle for “his significant contribution to San Francisco’s film community through the Roxie over the past four years.” In 2013 Statton was also awarded a Certificate of Honor by SF Supervisor David Campos for his “important and tireless work with the Roxie.” Statton was a founding member of the Sidewalk Sideshow, a project of the Marin Interfaith Council, which produced music shows with San Rafael’s street and homeless community. In addition, he is an Advisory Board member of the Tom Steel Clinic, which provides medical services for the HIV positive community in the San Francisco Bay Area.

Mike Reger has been an organizer with Clarion Alley Mural Project since 2010. Reger, a prolific cartoonist, is a co-founder of Mission Mini-Comix. He’s also a San Francisco native, and juggler. His specialties include: commix, OCD detailing, painting, juggling, and sedition. For more information see:

High Resolution and Additional images available on request


Megan Wilson: 415-351-8193               

Christopher Statton: 925-876-4588              

A few days ago I was forwarded Stephen Elliott’s “Daily Email” from April 17th 2013 that he sends to his Rumpus listserv (the full entry is reprinted below). It was forwarded to me because I am the artist that he refers to in the following passages:

In my last movie there is a shot of a mural protesting capitalism. The painter found out her mural was in the movie and wanted compensation. She talked about the movie like it was a commercial enterprise. Not for me, I told her. She asked if I would be OK with people watching my movie and not paying for it. Of course I would, I said, though it wasn’t my decision ……

I told the woman with the mural she might be right. What I meant was I’ve been wrong before and if a judge or someone like that ruled in her favor I would respect the decision, but personally I didn’t agree with it. And then we found common ground and decided to do an event together to help a non-profit she worked with. And then we never got to that, but maybe we still will.

My response:

  1. I’m consistently irritated by Stephen’s presentation of himself as the naïve – “I never thought of that” artist whose never considered what it means to use someone else’s work without permission or credit … or that About Cherry is a commercial endeavor … none of this entered his mind … as though this was like a student project. And for Stephen as a first time filmmaker, it likely was to some degree. However, were all of the producers, co-producers, executive producers etc., many of whom are seasoned moviemakers (see below) really that incompetent? At one point Stephen said to me (when we met in March) that anyone who saw the film wouldn’t think that it was a professional endeavor because professional filmmakers would make sure that they had permissions and releases …. Implying that in fact, his team was not professional.
  2. Stephen’s depiction of the situation is deceptive in its representation of what actually happened – the shot of me painting my mural WAS NOT RANDOM – it was a planned and staged shot and I conveyed to one of the folks on the crew that if they used it they would need to get written permission from me and CAMP – Stephen says it was him I spoke with (see email exchange below), though it wasn’t and that became clear when we did meet in March.

Here’s what did happen:

In June 2011 I was painting my mural CAPITALISM IS OVER! If You Want It. In the early afternoon a film crew of approximately 7 – 8 people showed up to film on the alley. They stopped in front of my mural while I was painting and filmed for a good 10 minutes. I asked them what they were doing and one of the cameramen responded that they were filming a movie – to which I asked: “What kind of film?” They giggled and said: “It’s an independent film.” They  continued shooting on the alley and I gave my usual spiel to one of their crew which is basically: “If any of this is going to be used for commercial purposes you need to get written permission from the artists and Clarion Alley Mural Project,” (CAMP is a fiscally sponsored project of Intersection for the Arts) and I gave him my card. His response was something to the affect of: This is just a small film shoot and we’ll be in touch if needed. They then left.

I continued painting until around 7:30/8pm at which time I started packing up – it was really cold and windy and I was so tired from painting on the alley since 9am. Just as I was putting the last of my paint in my car, which was on the alley, the entire crew showed back up and asked if I was leaving to which I said “yes.” They then begged me to stay as I was cleaning my brushes saying: “We came back just to film you, but we had to get another lens.” I told them I was really tired and would be back the next day. One of the crew then pulled me aside and said: “Actually this is a new film with James Franco, Heather Graham, Dev Patel, Ashley Hinshaw, and Lili Taylor.” I said “hmmm, I really like Lilli Taylor, but I’m super tired” They begged some more and I finally said “Okay you can film me, but if it ends up getting used, as I said earlier, you need written permission from me and CAMP.” So I took all my paints back out and started painting – they got the footage – and then took off.

I never heard from them again.  A friend then told me that she’d seen my mural in the film in summer 2012. I was able to get a screener of the film and was both livid and disappointed to see that yes, in fact they’d used the scene that they’d begged me to pose in (when I was already freezing and tired – you’ll notice I’m wearing a winter coat and hat in the shot) and they used footage of Jet Martinez and Kelly Ording’s mural (though not staged as mine), they NEVER got permission from ANY of us or CAMP (as we are CAMP organizers) and THEY DIDN’T CREDIT US OR THANK US. I did follow-up and ask that my work be removed; however, the producers said they couldn’t. So now my work (and Jet and Kelly’s) is forever a part of Stephen’s work whether we want it or not.

3.  The issue was never at its core about the money – the issue is and has always been one of respect and ensuring that the work of Clarion Alley Mural Project is not used for commercial purposes. I feel like a broken record when I say this, but for some reason people don’t hear it:  the murals / art on Clarion Alley is FREE for people to enjoy – it’s a community art space; however, it IS NOT a space for commercial ventures (and yes Stephen your project was a commercial venture) to use as a set/brand for urban street art and urban grit. We have in fact, worked with a couple of other commercial projects in the past – Nash Bridges very early on, and then Lenny Kravitz for his video Storm. In both cases the production companies were extremely thorough and respectful – ensuring that we had contracts in place and that the artists and CAMP were compensated and credited. Both of those deals were also made long before Clarion had become bombarded with folks trying to turn it into their own profit-making project – be it as the image it presents or directly by giving unsanctioned and inaccurate tours.

4.  Stephen and I and Christopher Statton did meet in March to discuss potential ways we could come to a positive outcome. Stephen reiterated his belief that anything shot outside is free for use and doesn’t need permission or doesn’t heed credit – be it art or otherwise. I tried to explain the situation to him from the point of his efforts to keep American Apparel out of the Mission – that by his setting a precedent that it’s okay to use public art in commercial endeavors without permission or credit – it opens up the alley to becoming more of an amusement park than it already is. This is when he noted that folks wouldn’t believe it was a big production because if it were, the filmmakers would have been more professional and thorough.

We then moved on to discussing potential redress of the situation. Chris and I suggested:  1) James Franco could create a T-shirt for CAMP – to which Stephen conveyed that James Franco won’t give him the time of day anymore; and 2) Stephen could organize a benefit reading for CAMP to which Stephen said he could commit to showing up and being a part of a reading, but not organizing it. Stephen suggested that realistically the only thing he could provide (other than showing up for a reading) was free advertising for CAMP in the Rumpus to which we conveyed that CAMP really doesn’t need advertising. And as Stephen wrote – that’s how we left it … so perhaps if CAMP – as a volunteer-run org – ever gets the time to organize that fundraiser, we’ll see if Stephen can read at it.

Enderby Entertainment

Elizabeth Destro

Jordan Kessler


Rick Dugdale

Elana Krausz

Executive Producer:

Bendrix Bailey


Elizabeth Destro

Jordan Kessler

Executive Producers:

Kim Leadford

David Raines

Claire Severance

Randy True

Executive Producers:

Chris Kientz

Peter Acworth


Gordon Bijelonic

Datari Turner

Director of Photography

Darren Genet

Production Design

Michael Grasley


Anisa Qureshi

More Credits and Thank Yous:

Stephen Elliott’s Post:

It’s been forever since the last daily email and I started to write to give you an update of what’s going on with our movie, Happy Baby, but in light of what happened in Boston that seems hard. It’s interesting that we make sense of the world through art and yet so often tragedy shuts us down. Partly because there is so much narcissism in art, and then the world comes in like a flood.

A while ago we did a fundraiser for the movie. It was a few weeks or more after the storms in New York and someone said it was inappropriate to raise money for our movie after the tragedy. She was right, of course, though I’m not sure what she was doing to help and she’s not sure what I might have been doing to help. It was unfortunate, we had a month for our Kickstarter, and we’d scheduled the event before, and we thought maybe enough time had passed so we went through with it. It was perhaps not the best decision.

Not long ago I got a note from someone wondering how we could be so concerned with a movie, or have any fun really, considering what’s going on in North Korea. The note was mostly all caps and the writer was seventeen years old.

In my last movie there is a shot of a mural protesting capitalism. The painter found out her mural was in the movie and wanted compensation. She talked about the movie like it was a commercial enterprise. Not for me, I told her. She asked if I would be OK with people watching my movie and not paying for it. Of course I would, I said, though it wasn’t my decision.

I mean, how does it all fit? A friend wrote from Boston, she said she didn’t like people.

I like to think of two people sitting close together, sharing a space.

One of my favorite stories is the one about the NFL playing football the Sunday after JFK was shot. I like what it says about trying to do the right thing and failing. It’s so often hard to know what the right thing is. And, I would argue, when you’re making art you frequently risk doing the wrong thing. Otherwise, you play it safe, don’t offend anyone, and one day it’s over.

It’s madness. It was madness in the seventies. You could argue that the madness is the same but you’d have to admit the weapons are getting bigger. Same madness, better tools. For years I’ve been skimming over the details of bombings in other countries. I was going to saywe’ve been skimming, but I don’t know that you have. It was on Game Of Thrones this week, a television show that we can all agree doesn’t actually make sense, and someone said that for all the carnage of war most people just go on with their lives. He meant, perhaps, in the countries that are not at war. I’ve been in Gaza twice, once during the second Intifada and then during the war in 2006. People were not going on with their lives.

I told the woman with the mural she might be right. What I meant was I’ve been wrong before and if a judge or someone like that ruled in her favor I would respect the decision, but personally I didn’t agree with it. And then we found common ground and decided to do an event together to help a non-profit she worked with. And then we never got to that, but maybe we still will.


Audio Portraits of Artists and Writers at Work: Lea Thau.

Collecting vinyl: Records Of You.



My exchanges with Stephen:

On Jan 24, 2013, at 11:50 AM, Megan Wilson wrote:

I’ve put it in my calendar – let’s check in when the date gets closer.

I do however want to say that I really really don’t appreciate that you used my work in your film without permission – especially after I had told the folks filming that if they decided to use the clip of me or any of the murals on Clarion Alley that they would need to get written permission from the artist, as well as Clarion Alley Mural Project - we deal with this all the time - for-profit ventures contacting us to use the Alley.

Also – the filming of me and my work wasn’t just randomly shot  - the crew, who had filmed in the daytime actually came back that evening as I was packing up and was just about to leave and they begged me for a good 10 minutes to unpack so they could film me – and I again kindly reiterated the CAMP policy. Its even more egregious since you’ve been a part of the Bay Area arts community for awhile now and we have many mutual friends - as well as the other artists from CAMP whose work was used.

From: Stephen Elliott <>
Date: January 24, 2013, 11:27:11 AM PST
To: Megan Wilson <>
Cc: <>
Subject: Re: P Ryan re re M Wilson Artwork in About Cherry

Hi Megan,

I can’t say I share your beliefs, but I’m not a lawyer. And that’s what courts are for, a third party to make a decision when two people disagree.

I don’t think of myself as making a movie for profit. It’s certainly not why I made the movie. I’m an artist, I don’t do anything for profit. For example, I took $10,000 less on my last book to publish with a smaller press because I thought the editor had more integrity. And I edited two anthologies to raise money for Oxfam. And I hosted a series of readings for six years at the Makeout Room to raise money for progressive political candidates.

I’m the person responsible for keeping American Apparel off Valencia.

I live in an artist co-op.

And I haven’t made any profit from About Cherry. It’s not yet “in profit” as they say. But again, that’s not my concern. It probably looks like a big budget movie because of all the famous people but they were all working for the Sag minimum, like $200 a day, mostly because they liked the script and/or liked me. It was a low budget indie feature.

My personal feeling, and that’s all it is, is that anything facing outside people should be allowed to film. I consider the sight line public space. I was there that day. I was the one that asked you to be in the picture. These things you say you said, you didn’t say them to me. If I had known we wouldn’t have taken the shot.

This happens in the literary world too. Like, if someone cuts and pasts a big chunk of something I’ve written and posts it on facebook, I guess, would be similar? I never worry about it though. That’s just not how I want to live my life.

I had to change my ticket. I’m actually back March 10 so we could have coffee on the 11th if you like. But it kind of seems like we just have different views of this. I’m not insisting I’m right. These are just my opinions. The lawyers and judges can say what the rule of law is.

I’ll be more aware of the concerns for outdoor art in the future. And I certainly wasn’t trying to offend anyone. If it had ever crossed my mind that an artist wouldn’t want their art to be seen in a movie it wouldn’t be there. So I’m glad you brought that to my attention.

The issues you bring up aren’t anything I’ve ever considered. But for this one it kind of seems like maybe the court should decide? I don’t mean that maliciously, I just mean that I really believe in the wisdom of the dispassionate third party.

On Jan 24, 2013, at 7:11 PM, Megan Wilson <> wrote:


Wow! we do have different beliefs on public art and its usage and respect for public artists. Given your progressive political work, which is great, I would not have thought that you would distinguish public art/artists as different from gallery artists (?) – to the point that you wouldn’t even give credit to the public artists that you used – or to Clarion Alley Mural Project …

Also, I didn’t realize that About Cherry was not a for-profit project – so you and everyone else worked on it to break even? That’s amazing!! – does this mean that it can be screened for free?


CIO! is going up as part of Clarion Alley Mural Project: