The Art of Memory

A documentary film in production: Director: Audrey Daniel, Editor: Katrina De Vera, Producer: George Nelson, Associate Producer Dianne Aoki, Composer Anaís Azul Arias-Aragón

In today’s world people in societies are rising to the need for greater public presence and recognition of their heroes and events representing the inherent struggles of humanity. Twenty-first century public space monuments and memorials, newly created and grassroots in origin, connect and support communities across cultures, gender, age, and economic status. They embrace and offer a new wave of inclusiveness, awareness, and education in a public setting. Aimed at preserving memories of individuals and community events, these projects are fueled by shared experiences, often gaining universal attention. My current film, The Art of Memory, in production since 2020, documents the evolution of grass roots memorials and monuments in the San Francisco Bay Area since 1985. 

By the early 1980’s, the narrative involving a wide array of public art projects in the Bay Area began a powerful shift. The Art of Memory weaves together a collection of interviews,  visual explorations and historical photographic archives. The film reflects this shift and its subsequent evolution, including: 

The “AIDS Memorial Quilt” started by Cleve Jones in 1987 was a massive, collective folk art project honoring lives lost to AIDS Pandemic. In The Art of Memory, unofficial keeper and “Mother of the AIDS Quilt”, Gert McMullin, shares her experience as a dedicated volunteer involved since its inception. The quilt grew to become the largest community art piece, weighing over 54 tons. It was eventually displayed globally to raise awareness and funds for AIDS services, becoming a powerful symbol of remembrance and advocacy, and inspiring others to join in the fight against injustice. 

Led by the stewardship of The National AIDS Memorial CEO, John Cunningham, The National AIDS Memorial Grove in Golden Gate Park is another grass roots Memorial that started with San Franciscans. Conceived in 1988, and working in a forgotten part of the park, the ‘living memorial’ was formally dedicated in 1991 and was officially designated a national memorial by Congress in 1996. 

Rosa de Anda is the founder of The Marigold Project, an annual Dia de los Muertos event honoring those that have passed. Open for public participation, the Bay Area community attend and participate by the thousands. Building their own altars, or simply walking through the park to honor family or friends altars, community members unite in a shared experience of celebration and remembrance. Rosa’s interview dives deep into the themes of the Art of Memory through “Ancestral remembrance, Cultural Transmission and Public ritual as historical record.”

Some memorials begin with the humblest of offerings: flowers, photos and mementos on the side of a road,  sidewalk or a visible public space marking the location of a tragic incident. They may transform into permanent artworks or installations. One example is the memorial of rocks, photos and flowers on Bernal Hill marking the memory of Alex Nieto, a young man who many believe was unjustifiably shot by police 12 years ago.  While funds are being resourced for an official memorial, community members from all parts of San Francisco gather annually on the anniversary of Alex’s death to pay tribute. Another example is a mural and make-shift outdoor library of free books painted and built by community and family members.  The memorial stands against an elementary school fence in honor of the memory of Sean Monterossa, a young man killed during the Black Lives Matter riots of 2020. In both cases, community grassroots memorials elevate public awareness on issues ultimately affecting all members of society. 

San Francisco Artist Nancy Hom creates community-based mandala installations as a way to tell a collective story. Originating over 3000 years ago in India, the circular structure of a mandala symbolizes wholeness and interconnectedness of life. Within Hom’s collaboratively created mandalas community history is revealed, reflecting its evolution and ‘living history’, and galvanizing communities through the inclusion of diverse viewpoints and experiences.

As of January 2026 we are still in the process of interviewing artists and community leaders in the evolving story of The Art of Memory.