San Francisco’s Artists Struggle on, Despite a City Failing in Support
What Happens When a City Stops Holding Space for Its Artists? Many artists and arts organizations across the Bay are still reeling from the sudden cessation of NEA grants mid-project last week. But the story of artists struggling to stay afloat isn’t new to multidisciplinary artist, producer, filmmaker, and dancer Conni McKenzie. To see her dance is to see an intricate story unfolding with a lasting message, wrapped up in the power of her unique artistry. Her work has appeared all across the city, and she’s the recipient of numerous residencies, grants, and fellowships. On paper, she’s a success story—an inspiration to many. But like so many working artists, she’s barely making ends meet.
“What’s become clear to me is this: while funding is important, it’s only one piece of a much larger puzzle,” McKenzie says. “What independent artists in this city—particularly Black artists—often lack is infrastructure, visibility, and consistent, long-term support. San Francisco presents itself as a place that values art and innovation, but the reality is, many of us are surviving in the cracks, carrying the weight of our creativity with little to no safety net.”
McKenzie began her career just five months before the pandemic. Despite the isolation, she managed to carve out space for herself. From creating work from her bedroom and applying for grants from her home office. It led to some success, but at a cost. “While remote work offered some conveniences, it came at the cost of deep connection, creative spontaneity, and real community,” she reflects.
“There’s a hustle culture here that masquerades as community, but often leaves little room for actual care or rest. I’ve taken on project after project, not necessarily because I had the bandwidth, but because I had to—to keep the lights on, to afford groceries, to not fall behind. There’s this romantic idea of the artist ‘making it’ against all odds, but we don’t talk enough about how unsustainable those odds are. And we don’t talk enough about how burnout becomes the norm, not the exception.”
After completing a residency outside of the Bay, McKenzie returned to San Francisco feeling hopeful. But the reality of working in the city again proved exhausting. “It’s not just the creative labor—it’s the perfectionism, the expectations, the invisible hoops,” she says. And for those whose identities don’t align neatly with institutional categories, the result is often isolation. “I’ve felt too Black, not Black enough, too queer, not queer enough, too Latinx, not Latinx enough—or some mix of all of that. The result has been a persistent feeling of being on the outside looking in.”
That alienation, McKenzie argues, trickles down into poorly attended shows and workshops, lost momentum, and the quiet grief of knowing your work deserves more care than the city is willing to give. Post-pandemic, simply getting people out of their homes to engage with art has become a full-time job. Without the in-person networks that once sustained the community, artists are being asked to rebuild from scratch—often alone—while still producing visionary work.
To move forward, McKenzie believes, cities like San Francisco must rethink how they support artists. One-year grants help, but multi-year funding structures would give artists time to develop work, form relationships, and grow sustainably. Not every grant needs to result in a final product. Some support should simply allow artists to exist in community, attend performances, meet collaborators, and restore themselves creatively.
She also calls for recognizing artists as essential contributors—not just entertainers who shape the soul of the city. That recognition should come with administrative support, fiscal sponsorship, and infrastructure that allows artists to focus on creating rather than constantly chasing funding.
McKenzie also emphasizes the need for archiving and documentation. Too often, important work is lost due to lack of resources. Preserving it should be seen as part of legacy-building. While education is one path for engagement, it shouldn’t be the only one. Artists should be able to connect with communities through senior centers, recovery programs, and neighborhood initiatives.
“The value of artists isn’t just in what we produce—it’s in how we help people see, feel, and connect,” she says. “But if we’re only ever rewarded for output—and never supported in our input—then of course we burn out. Of course we fade away.”
San Francisco risks losing artists like McKenzie—not because they’ve run out of vision, but because the city has failed to provide the basic conditions for that vision to thrive.
So, while financially supporting arts is needed and appreciated, it is also important for us to show up. Our presence speaks loudly to the arts that we want them here. Because without artists, there is no culture. And without culture, this city has no heart.
Connie’s latest ground-breaking show, funded by the San Francisco Arts Commission Borrowed, will take place on June 7 and 8 at the Bayview Opera House. It will also take the form of an immersive site-specific performance on June 28 and 29 at Joaquin Miller Park in Oakland. For tickets, visit the link here.
To learn more about Connie visit her on IG or her website
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