2nd Sat Reception: Sat, Dec 9, 2017 - 4:00pm to 8:00pm
Exhibition Dates: Dec 9, 2017 to Dec 14, 2017
Curated By: Mel Day
2nd Sat Reception: Sat, Nov 11, 2017 - 7:00pm to 10:00pm
Exhibition Dates: Nov 4, 2017 to Dec 2, 2017
Donate to our Annual Fund before the end of the year to help our programs flourish.
Start your new year right, take an art class in 2017!

Our Programs

Root Division will be closed Thursday, November 23
through Sunday, November 26.

Shop Root Division

Check out our Square Store to shop for art from our current exhibition, art by our Studio Artists, exhibition catalogues, and Root Division merchandise!

Studios Program

Our artists receive studio space at below market rates and valuable professional and creative development opportunities in exchange for service in the organization.

Youth Education

We recruit, train, and place artists to teach free art classes in one of our eight after-school partner programs.

Adult Education

We offer highly innovative and affordable art classes in a friendly and engaging environment.

Exhibitions & Events

This program provides a platform for innovative artwork in an engaging environment. Our Second Saturday Exhibition Series showcases over 350 artists annually.






FALL 2017
September 1 - December 31, 2017

Fall is nearly here! Sign up for an art class today!


Ancel Martinez is a San Franciscan who has assisted non-profits and public boards over the past decade achieve their goals of improving education programs, public safety and environmental improvements. As a one-time public school parent, Ancel has worked with Root Division over a number of years. He is a corporate communications executive at Wells Fargo & Co. and a media professional with extensive experience in public affairs, finance, government relations, crisis communications and media outreach.

Joyce Nojima is a second-generation Japanese American born and raised in Santa Rosa, California. Nojima’s work exposes the beauty in the destruction of her materials. By puncturing, disfiguring, welding, and drawing with a heated iron rod, Nojima’s marks reveal volume through manipulation. Tentative gestures are interrupted by thick yet translucent scars. These marks echo the dichotomy between rhythm and atonality, thoughtfulness and impetuousness.