Julie Phelps took on the role of interim director at CounterPulse just as Twitter was relocating its headquarters one block away from the venue’s previous South of Market location, signaling the coming of gentrification.
The tale of how the originally small CounterPulse collaborated with San Francisco’s Community Arts Stabilization Trust to acquire and restore its own building in the Tenderloin has been widely reported in the media, and for good cause: The collaboration serves as an example for artistic organizations throughout the country. With Phelp’s guidance as both artistic and executive director, CounterPulse surpassed a $7 million fundraising target and finalized the purchase of its renovated theater at 80 Turk St. in 2023, a former adult entertainment establishment, from CAST.
Now Phelps is retiring.
The CounterPulse board revealed on August 12 that it plans to soon name an acting director while working to fill Phelps’ position. Her exit occurs as the theater prepares for its one-month CounterPulse Festival, set to begin on September 4, featuring events such as Saharla Vetsch’s “Dance House,” described as a “dance club experience of your dreams” incorporating “modern dance, drag, aerial movement, and nightlife spectacle.”
The Chronicle spoke with Phelps by phone as she arrived for work in the Tenderloin. She mentioned she doesn’t have a new position secured but simply needs some time away from arts leadership, although she intends to continue supporting efforts to preserve the arts.
This dialogue has been modified to be more concise and clear.
Q: I’m amazed by what CounterPulse has achieved. I recall my first visit in 2003 when the organization was known as 848 Community Space, a location on Divisadero Street that seemed like someone’s home.
A:It was. 848 was a group of artists who came together to utilize a large living room. Generally, Keith (Hennessy) and Jess (Curtis) were the main focal points, along with Michael “Med-O” (Whitson), who is regarded as a founder. They functioned in this manner for more than a decade.
Q: CounterPulse had already relocated from that apartment living room to a location on Mission near Ninth Street, just around the corner from Mid-Market, when you discovered it.
A:Okay. My background is that I grew up in a remote high school located in a low-income area of Minnesota, being the first in my family to attend college. No one ever suggested that I had the potential to become an artist or even work in arts administration. I supported myself through college studying psychology, with the intention of becoming a neuroscientist. In 2007, I moved to San Francisco and began taking dance classes with Sara Shelton Mann.
I ended up at CounterPulse for a performance titled “Under the Radar” by Jess Curtis/Gravity, and I thought, “Oh, my God, this has always been my true passion.” I checked Craigslist, and sure enough, there was a job listing for Jeff Curtis/Gravity.
I had an interview with Jess, who asked, “Well, do you think you can write grants?” I shared my senior capstone essay about the ironic application of queer language and identity development within LGBTQ communities, and he responded, “If you can write this paper, you’re definitely capable of writing a grant.”
Later, I took on another part-time administrative position at Circo Zero, which is owned by Keith Hennessy. I was responsible for his 25th anniversary season, during which he presented various pieces from his historical repertoire, and this marked my initial experience in curation.
Q: What did you learn from the former CounterPulse director, Jessica Robinson Love?
A:Jessica played a key role in maintaining a very careful balance at CounterPulse, connecting grassroots community efforts with arts and culture structures and formal institutional systems. A significant part of what I learned from her was how to discuss the highly experimental, temporary, and daring work that CounterPulse carries out, highlighting its importance for the broader cultural scene, audience growth, and for developing talent across the entire Bay Area.
If you enter CounterPulse and concentrate on whether you enjoy the performance you witness, you’re overlooking the main purpose. The goal is to provide artists with an affordable space where they can explore and create. These initiatives have a cultural impact that is deeply transformative for a region such as the Bay Area. The true worth lies in San Francisco continuing to be a hub for this kind of artistic community.
Q: Acquiring 80 Turk, which was previously an adult entertainment theater known as the Dollhouse, marked a significant moment for CounterPulse. How did this transaction take place?
More Information
The CounterPulse Festival:8 p.m. on September 4 marks the start of the Edge Residency Showcase and the opening event for “TEXT2SPEECH: TEXT2MAGE,” organized by Fadi Fakhouri. The exhibition will run until September 27. Location: CounterPulse, 80 Turk St., San Francisco. Admission is free to $40. Visit the festival’s complete schedule online.https://counterpulse.org.
A:One of those fortunate factors was the building’s owner, Grant Leong. He earned his wealth during the dot-com boom and developed a small obsession with poured concrete structures in the city, purchasing them. He consistently wished for 80 Turk to be transformed into a theater once more.
The story goes that he believed the Community Arts Stabilization Trust would likely convert it into condominiums or similar, and we had a cash offer ready for him (however) he refused to sign. We urged, “You really should just come in and take a look at us.” He visited CounterPulse and said, “Oh, like, you all are really just theater people.” After that, he signed.
80 Turk was located on the most dangerous street in the city when we initially moved in. This was a factor in the owner’s decision-making process regarding when to sell and to whom. I truly believe he made the correct choice. I think the arts were a suitable fit for that building, that neighborhood, and that point in downtown’s history.
Q: Do you have a favorite memory of artists making this theater their own?
A:The project was nearly abandoned because we couldn’t secure the necessary exit route from the back of the building. So I visited the Planning Department and suggested, “What if the exit went through the basement and then looped around to the front of the building?” This idea revived the entire project.
We spent an additional $20,000, and we were only able to include four bathrooms in the basement instead of our original plan – all these adjustments made at the last minute – (but) it was truly rewarding to watch Krista DeNio and her team, Moving Ground, perform a traveling act throughout the building and into the basement. (It was) one of the first instances of what occurs when you have site control and are willing to approve artists’ creative freedom.
Q: The CounterPulse Festival, a month-long event featuring over a dozen artists and performers – including a cowboy party at The Stud – is returning. How does it vary from the regular activities of CounterPulse throughout the year?
A:It’s not so much of a difference as it is a shorter version.
I often mention, “The single thing you can witness at CounterPulse isn’t just one thing.” As a spectator, you might have to visit for two years to fully grasp the breadth and diversity. The festival compresses this into a quicker, more vibrant schedule.
Additionally, I’ve always been passionate about inviting artists from beyond the Bay Area and even from other countries to perform in San Francisco. I was fortunate to travel extensively around the world as a dancer in my early 20s. While a significant amount of funding is directed towards local arts in the Bay Area, which is fantastic, it can also benefit from cultural exchange. The festival provided a platform to showcase works from outside the region and to present them at venues besides CounterPulse. We have showcased performances at ODC Theater, the Lab, and the Yerba Buena Center for the Arts.
Q: We are living in an era where the The arts are facing challenges from the federal government. As you leave CounterPulse, do you feel reassured that it now has a permanent location?
A:The effort to overcome the obstacles encountered by the arts community is an ongoing journey. While I was crafting messages during the pandemic shutdowns, I avoided labeling the situation as “unprecedented” because, when viewed from a broader perspective, the arts have endured through the AIDS crisis and various other challenges—this has always been part of their history. Uncertainty is a consistent reality that keeps changing its form.
We have made progress in subtly changing the system, established a culture of flexibility in our programs and among our team, and I believe these are my lasting contributions to the movement.
Rachel Howard works as a self-employed writer.
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